CHARMAINE ...Extended Leavitt

Roy Thomson · From: Wolfville, Nova Scotia,Canada

This popular song of old is one I always liked
ever since hearing it first by Montavanni and
his cascading strings many moons ago.

I recorded it today using the Leavitt Tuning
with the top 2 string extension that Bill Hatcher
introduced several months ago. It really makes for
a beautiful tuning.

If you are interested in learning/playing the
Leavitt tuning please feel free to contact me
roythomson at eastlink dot ca
I have two courses available that should help you
greatly.

Here is the link to CHARMAINE
http://www.freefilehosting.net/download/3cbk9

Thanks to all for your support.

Roy
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Courses Lap Steel, Pedal Steel

Papa Joe Pollick · From: Swanton, Ohio

lovely!!!.I was just thinkin today that we havn't heard from Roy for a while.I love your music. Very Happy

PJ

Bill Hatcher · From: Atlanta Ga. USA

A classy song done by a classy player! It is always a pleasure to hear what you have come up with Roy and it insprires more study on the extended Leavitt.

I am working on an old Marlen guitar right now that will be a D12 with one of the necks being extended 12 string Leavitt. I will let you know how this goes.

Roy Thomson · From: Wolfville, Nova Scotia,Canada

Can't wait.

RT
_________________
Custom Tabs Various Tunings
Courses Lap Steel, Pedal Steel

Lee Gillespie · From: Cheyenne, Wy. USA

Beautiful Roy. Dog gone it....when ever you do such a great job on a song using the leavitt tuning, it makes me want to put my dobro down and get back on your leavitt course. Keep them coming. Lee

Bill Creller · From: Saginaw, Michigan, USA (deceased)

Very nice Roy. I sure remember Mantovani's cascading strings sound, and Charmaine is one of my favorites to play and hear.

Roy Thomson · From: Wolfville, Nova Scotia,Canada

Many Thanks!

RT
_________________
Custom Tabs Various Tunings
Courses Lap Steel, Pedal Steel

Ray Montee · From: Portland, Oregon (deceased)

Roy: I'm a died-in-the-wool C6th addict.......but thro' your efforts have become intrigued and curious about your tuning.
Tell me, please, how much bar movement and slants are involved in playing your many selections. It sounds to me like it's a lot of straight bar picking of strings in a single bar position style, somewhat like a real, full-blown harp.
The reason I bring this up, is, I used to collect tunings from all of the touring steel players. The fellows, several different players, years apart, that toured with Hank Thompson's groups, always had a "Thompson" sound (distinctive, like C#min.) and it was creative and nice, HOWEVER, they never much played any kind of melody nor could I after digging and digging, attempting to make it into a great tuning choice.
Tell us about YOUR TUNING. What's the approach?

Ray Montee · From: Portland, Oregon (deceased)

Roy: I'm a died-in-the-wool C6th addict.......but thro' your efforts have become intrigued and curious about your tuning.
Tell me, please, how much bar movement and slants are involved in playing your many selections. It sounds to me like it's a lot of straight bar picking of strings in a single bar position style, somewhat like a real, full-blown harp.
The reason I bring this up, is, I used to collect tunings from all of the touring steel players. The fellows, several different players, years apart, that toured with Hank Thompson's groups, always had a "Thompson" sound (distinctive, like C#min.) and it was creative and nice, HOWEVER, they never much played any kind of melody nor could I after digging and digging, attempting to make it into a great tuning choice.
Tell us about YOUR TUNING. What's the approach?

Ray Montee · From: Portland, Oregon (deceased)

Roy: I'm a died-in-the-wool C6th addict.......but thro' your efforts have become intrigued and curious about your tuning.
Tell me, please, how much bar movement and slants are involved in playing your many selections. It sounds to me like it's a lot of straight bar picking of strings in a single bar position style, somewhat like a real, full-blown harp.
The reason I bring this up, is, I used to collect tunings from all of the touring steel players. The fellows, several different players, years apart, that toured with Hank Thompson's groups, always had a "Thompson" sound (distinctive, like C#min.) and it was creative and nice, HOWEVER, they never much played any kind of melody nor could I after digging and digging, attempting to make it into a great tuning choice.
Tell us about YOUR TUNING. What's the approach?

Ray Montee · From: Portland, Oregon (deceased)

Roy: I'm a died-in-the-wool C6th addict.......but thro' your efforts have become intrigued and curious about your tuning.
Tell me, please, how much bar movement and slants are involved in playing your many selections. It sounds to me like it's a lot of straight bar picking of strings in a single bar position style, somewhat like a real, full-blown harp.
The reason I bring this up, is, I used to collect tunings from all of the touring steel players. The fellows, several different players, years apart, that toured with Hank Thompson's groups, always had a "Thompson" sound (distinctive, like C#min.) and it was creative and nice, HOWEVER, they never much played any kind of melody nor could I after digging and digging, attempting to make it into a great tuning choice.
Tell us about YOUR TUNING. What's the approach?

Roy Thomson · From: Wolfville, Nova Scotia,Canada

Hi Ray,

Maybe the best way to answer your question is with
pictures. The tuning and tab comprises the exact
approach to my recording.
Many thanks for your interest.
_________________
Custom Tabs Various Tunings
Courses Lap Steel, Pedal Steel

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