# Writing using a 7 string and a 6 string



## cult-leader-of-djent (Jul 15, 2012)

So I have ran into a brick wall as a friend and I both want to write some Hiddly diddly fancy technical deathcore songs but I own a seven string and my friend has a six string. When we play together it does not sound right. Now I know that transposing will be a factor.

How can we get around this ? 

Other Tips ?


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## MaxOfMetal (Jul 15, 2012)

I don't see what the issue is. Depending on tuning, at most, you'll have access to about five or so more notes at any given time, so unless you're using _just_ those notes, I don't see why your 6-string'd friend can't keep up. 

What tuning are you both using?


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## cult-leader-of-djent (Jul 15, 2012)

MaxOfMetal said:


> I don't see what the issue is. Depending on tuning, at most, you'll have access to about five or so more notes at any given time, so unless you're using _just_ those notes, I don't see why your 6-string'd friend can't keep up.
> 
> What tuning are you both using?



I am in GDGCFAD 
He is in CGCFAD


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## Stealthdjentstic (Jul 15, 2012)

Tr0n and I jam using a 6 and 8...

Hes in drop C and im in drop C with a low F and high G. I use the low string to harmonize stuff sometimes and high string for ultimate shreddies.


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## steve1 (Jul 15, 2012)

I've been in the same situation a year or two ago, our problem came from both of us not being up to scratch with theory and knowing the fretboard as well as we should. I'm guessing either one, or both of you have the same problem. We took the easier route of switching back to both using 6 strings in the same tuning, but that's the boring lazy option. Just keep working at it.

Edit: just to clarify, I meant switching back to 6 was the boring lazy option, not using similar tunings.


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## Stealthdjentstic (Jul 15, 2012)

Well if you just do what I do you dont even need to know theory really. Just your notes and how some relate to each other. You can do super low chugga chuggah and have him do a solo or a melody over it.


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## CrownofWorms (Jul 15, 2012)

cult-leader-of-djent said:


> I am in GDGCFAD
> He is in CGCFAD


 why doesn't he also tune to drop G unless you guys are using the high D string

Here's some tunings:
7 string:GDGCFAD
6 string:GDGCF#A

The intervals are still similar


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## devolutionary (Jul 15, 2012)

I run GCGCFAD and our lead runs CGCFAD. Works fine. I tend to be doing low end rhythm that differs from the bass and leads entirely. The bass is there to fill the lead guitar, I'm there to provide all the counterpoints, Nile-esque harmonies, trem/pinch harmonic madness,and all that kinda jazz. It's a matter of writing to the guitars and playing music that supports the primary tuning (in our case, dropped C). We're doing a throw-together blend of melodic death, black, thrash, et. al. so our base tuning is fine. Then it's just a matter of finding different and unique things to do with that 7th string.


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## cult-leader-of-djent (Jul 16, 2012)

Well either way it sounds like you have to compromise lead or rhythm playing. 
We both play lead and rhythm so any other ideas? Keep them coming


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## Mr. Big Noodles (Jul 16, 2012)

My composition teacher often stresses that one should write multiple facets to a single gesture. It's very rare that I hear that advice taken, outside of a few styles where timbre is a major concern. What I mean is that I can point to countless examples of guitar music wherein everything is thought of in layers. There's the lead layer, there's the rhythm layer, there's the vocal layer, and that's usually it, because the bassist is following the rhythm guitar. There can be no communication like that. Have you ever passed a riff from one instrument to another? Check this out:

Robert Schumann - Symphony 4, Mvt. 1


Go to 2:22, and you'll hear the fourth measure of this page:







Notice that the figure starts low, and is passed on up to higher-sounding instruments. That is easily the "lead" part, and no one instrument plays more than a third of it. Fuck, dude, show me even one metal band that does that. Hocket is a cool sound that you don't hear too often, either. Skip to 1:20 here, and listen to how all of the instruments interact, how they finish each other's sentences, regardless of register:

Gentle Giant - So Sincere


These are just a couple of ways of writing for instruments that have different tessiture. But you're talking about a perfect fourth difference in your available notes. You're telling me that you have five octaves in common and you can't figure out how to jam a riff together?


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## JosephAOI (Jul 16, 2012)

CrownofWorms said:


> why doesn't he also tune to drop G unless you guys are using the high D string
> 
> Here's some tunings:
> 7 string:GDGCFAD
> ...



You could also have your 6 stringer play in Sikth tuning.

7 string: GDGCFAD
6 string: GGCFAD

So you both have access to the same notes, he's just missing that interval between the 7th and 5th strings.


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## Solodini (Jul 16, 2012)

Have your 6 stringer tune up the 6th string to D if tuning is really a problem. 

I agree that your problems probably come from not knowing what you're playing and why. Theory and its application to the linking of parts, as mentioned above. I think an approach like a tapestry leads to longevity and success in a piece of music. As SW said, parts which link into each other to create a whole, but also an idea showing up later in part or as a whole as a reminder and reference to the previous theme. 

Perhaps you could let us see/hear some of what you two have come up with so far?

I may have interpreted incorrectly but you seemed dismissive of other people's ideas which I personally thought were very helpful. Perhaps if you outlined your issues with those ideas then that might further help us to aid you in solving your dilemma.


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## texshred777 (Jul 16, 2012)

cult-leader-of-djent said:


> Well either way it sounds like you have to compromise lead or rhythm playing.


 
Why?


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## SirMyghin (Jul 16, 2012)

^^

Pretty much. If you know half of what you are doing 2 players don't need either the same lowest note OR anything close to the same tuning. That is the real key here, actually understanding what you want to achieve. You might know a few scales, but if all you know them as is fretboard patterns you are done. Take the time to delve deeper and actually learn some real theory, not just glance at the surface, and chances are you can work it out well.

Be more creative than the masses, use this as an oppurtunity to grow as players/ a band instead of just caving in instead of learning.


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## Winspear (Jul 16, 2012)

SirMyghin said:


> ^^
> 
> Pretty much. If you know half of what you are doing 2 players don't need either the same lowest note OR anything close to the same tuning. That is the real key here, actually understanding what you want to achieve. You might know a few scales, but if all you know them as is fretboard patterns you are done. Take the time to delve deeper and actually learn some real theory, not just glance at the surface, and chances are you can work it out well.
> 
> Be more creative than the masses, use this as an oppurtunity to grow as players/ a band instead of just caving in instead of learning.



This. 

Hell, you don't even need to know theory to get through this. Not that learning theory would be a bad thing. Just understand where notes are along each string. C C# D D# E F F# G G# A A# B 
Takes all of 10 minutes to learn and should have you sorted. Just think about where the notes move as you change tuning. For example drop tuning moves the notes up 2 frets allowing you to play a powerchord with one finger. 

There's really nothing to it - and no you definitely don't have to compromise parts!

To be honest, this would all be incredibly easy if you just dropped your 6th string to C like his. But take this as an opportunity to learn something which really should not be a problem. 

Reminds me of when my friend had no idea what an octave was or where it was, despite being in a signed _metalcore_ band


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## texshred777 (Jul 16, 2012)

Agreed with above two posters. 

Take some time to learn more about scales/chords than shapes. If you know your intervals and some VERY basic theory you should be good. I don't understand why not having the same lowest/highest note should be a problem. 

If you don't want to take some time to learn about your instrument that's fine, but being able to communicate beyond x string, x fret would be beneficial.


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## cult-leader-of-djent (Jul 16, 2012)

I have figured out a way to make it work. I've taken my seven string and tuned it to CDGCFAD. I don't know much music theory but I'll try to take as much advice as possible.


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## TheDisease999 (Jan 28, 2013)

A similar question.....

I use a 7 tuned to GDGCFAD
and I play with a six stringer who plays GDGCFa#D

What is the seven string version of the chord?

|-0
|-0
|-0
|-5
|-7
|-0

This might be a dumb question but we are having trouble as the chord is strummed top top bottom one string at a time, so timing is key. if there is a harmony I would also love to know.

THANKS


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## Rick (Jan 28, 2013)

cult-leader-of-djent said:


> So I have ran into a brick wall as a friend and I both want to write some Hiddly diddly fancy technical deathcore songs but I own a seven string and my friend has a six string. When we play together it does not sound right. Now I know that transposing will be a factor.
> 
> How can we get around this ?
> 
> Other Tips ?



Tell him to go fuck himself and buy a goddamn seven string.


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## Mr. Big Noodles (Jan 29, 2013)

TheDisease999 said:


> A similar question.....
> 
> I use a 7 tuned to GDGCFAD
> and I play with a six stringer who plays GDGCFa#D



Er, does your friend's guitar have six or seven strings? Am I to assume that I'm looking at F, F#, A#, or something else?



> What is the seven string version of the chord?
> 
> |-0
> |-0
> ...



Once we figure out what the deal is with your buddy's choice of scordatura, we can decipher what's going on, but it would benefit you in the long run to learn some music fundamentals and work on translating that information to your instrument.

Also, how am I supposed to read this? Do you want this...


```
D-0
F/F#/A#/wuteva-0
C-0
G-5
D-7
G-0
```

... or this?


```
G-0
D-0
G-0
C-5
F/F#/A#/wuteva-7
D-0
```

I don't like tablature, but when I do have to use it, I find that it's a good idea to make everything as clear as possible: indicate the tuning next to the tab, be redundant if necessary.


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## TheDisease999 (Jan 29, 2013)

TERRIBLY SORRY, I forgot about the bar on 5th fret

The six string chord (in tablature)
D |-5-
F#|-5-
C |-5-
G |-5-
D |-7-
G |-5-

Definitely want him to get a 7 though (I recently joined a band and he used a 6 prior to my joining, but my 7 inspired him to step his game up)


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## TheDisease999 (Jan 29, 2013)

FUCK I really suck with tabbing things from memory, seriously I deserve a lot of bashing for this, But this is the ACTUAL chord
D |-5-
F#|-5-
C |-5-
G |-5-
D |-5-
G |-7-


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## Konfyouzd (Jan 29, 2013)

I agree with anyone in this thread that has said something along the lines of, "As long as you know where the notes are, there should be no problem."

I play with other folks that use various other tunings all the time. A lot of the time I don't even ask how they're tuned--I don't care... I usually just ask what the part we're playing (and in some cases the song as a whole) resolves to. And sometimes through a little trial and error can just figure it out w/o asking.

I don't have perfect pitch--not even close. But I do know certain notes. For some reason I can hum a D (my god, the phrasing!) really well and from there I can kind of "count tones" to figure out which one I actually want. (Although I still mix up A and D minor on occassion).


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## Mr. Big Noodles (Jan 29, 2013)

TheDisease999 said:


> FUCK I really suck with tabbing things from memory, seriously I deserve a lot of bashing for this, But this is the ACTUAL chord
> D |-5-
> F#|-5-
> C |-5-
> ...



Strange tuning. The second string is a tritone above the third string, and the first string is a minor sixth above the second string? At any rate, these are the notes, from low to high: C A C F B G

Doesn't mean a whole lot to me. I see implications of G7 (G B F), F (F A C), and a few other chords. Together, those notes aren't very good for functional harmony. Context is everything, though. You sure that's the chord and the tuning?


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## TheDisease999 (Jan 30, 2013)

SchecterWhore said:


> Strange tuning. The second string is a tritone above the third string, and the first string is a minor sixth above the second string? At any rate, these are the notes, from low to high: C A C F B G
> 
> Doesn't mean a whole lot to me. I see implications of G7 (G B F), F (F A C), and a few other chords. Together, those notes aren't very good for functional harmony. Context is everything, though. You sure that's the chord and the tuning?



Ok this is the tunings
7 string:GDGCFAD
6 string:GDGCF#A

and HERE is the chord played on a six string. Maybe a nice harmony would also work.

A |-5
F#|-5
C |-5
G |-7
D |-5
G |-8

Last time I swear, time to stop embarrassing myself


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## InfinityCollision (Jan 30, 2013)

EbGDFBD low to high? I'd probably call it an Eb aug9 chord. R M3 +5 m7 M9

7-string version with the specified tuning could be...
D|5
A|5
F|6
C|5
G|7
D|5
G|8

or

D|0
A|2
F|0
C|2
G|0
D|1
G|x

which is the same notes and spelling as the 6-string but taking advantage of the high string and open strings to ease fingering. From what you said above I think the second one is probably what you want.


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## SirMyghin (Jan 30, 2013)

Important announcement here:

Upon further review of empirical evidence, it is not possible to play with multiple instruments unless all instruments are tuned identically


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## Konfyouzd (Jan 30, 2013)

*Begins thinking about an orchestra* 

... or even a fucking sax quartet.


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## Mr. Big Noodles (Jan 30, 2013)

^


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## Konfyouzd (Jan 30, 2013)

How the fuck did I miss that part of the movie? 

I know what I'm doing when I get home now.


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## TheDisease999 (Jan 31, 2013)

InfinityCollision said:


> D|0
> A|2
> F|0
> C|2
> ...



PERFECT thanks a lot. That is exactly what I was looking for. Because the chord is strummed top to bottom, The 6-string chord here lines up perfectly with my friend's sixer. Also if you guys want you should check out the song in particular. The quality isn't great as we are in the process of recording our EP.


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