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Topic: Exp E9 vs E9/Bb6 |
Dave Grothusen
From:
Scott City, Ks
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Posted 18 Nov 2009 5:35 am |
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| I recently pruchase the DVD of Tom Brumely from his wife that show him "noodling". He is playing some of the Buddy Emmons C6 stuff on his expanded E9. Anyone have any thoughts on the difference between the expanded E9 and the universal E9/Bb6 tunings. Tom used 11 strings where the universal is 12. |
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Olli Haavisto
From:
Jarvenpaa,Finland
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Posted 18 Nov 2009 6:02 am
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It`s E9/B6. The universal duplicates basic C6 a half step lower, extended E9 adds G# and E to the standard 10 string. I play a U12 but I do quite a bit "C6 stuff" on the E9 side of the tracks.
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Olli Haavisto
Finland |
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b0b
From:
Cloverdale, CA, USA
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Posted 18 Nov 2009 3:36 pm
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The extended E9th gives you everything from the E9th, plus an extended range. I think that Tom Brumley added a low E, but not the low G#.
The universal E9/B6 is a much more complex copedent because it includes the changes of the C6th neck. It has 7 or 8 pedals where the extended E9th usually has just 3 or 4.
Also, the E9/B6 doesn't have the 9th string D of the E9th - you use a knee lever to get that note.
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-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
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Jerry Hayes
From:
Virginia Beach, Va.
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Posted 19 Nov 2009 10:27 am
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You can make an E9/B6 Universal out of an extended E9 tuning very easily... My own set up is and extended E9 with the 2nd and 9th strings tuned to C#. However, some steelers (Terry Crisp for example) are dropping the low C string on their inside neck and moving strings 7, 8 and 9 down to the bottom slots winding up with an F note on the 10th string......
Then they add a D note in the 7th slot between the E and C. This gives you the same as what the F# string in the middle of the E9th is for (example: 1st, 2nd and 3rd notes of the major scale. To get this on an extended E9th you just need to add another pull to the knee lever which lowers your E strings (4 & 8 ) which lowers your 9th string D to C#. all the B6 changes will work with this setup.
I've taken the FP which used to lower string 7 a half and raise the 11th & 12 strings to where it still lowers the 7th string but it now lowers the 12th string E to C#. The 9th string C# is now another root in this position.
The "BooWah" pedal is gone but for a VI7 chord I lower my 9th string C# to C, my 10th string B to A# and my 12th string E to D#.
If any of you extended E9 players would like to try a Universal approach but have hesitated because you didn't want to lose your D string, I think this is the way to go!....just add those B6th pedals in there and go to town......JH in Va.
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Don't matter who's in Austin (or anywhere else) Ralph Mooney is still the king!!! |
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Jan Oelbrandt
From:
Herzele, Belgium
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Posted 28 Nov 2009 4:17 am
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Maybe unappropiate to log onto this topic, just say so and I'll jump off it.
I recentently bought me a 12 sting with 7 floorpedals and 4 knee levers (before I played a 3+1), and I'm hesitating on what copedent to start off with. I don't want to lose time on a copedent to learn for a couple of years and then decide to change anyway.
My goal is: be flexible (want to play jazz - amongst other genres, but don't want to lose the classic E9 country licks)
The codepent should leave plenty of room to play lead, and do chord stuff too, of course (including dim's)
I was thinking of playing E9 extended (3 floorpedals, 4 knees - but what copedent? I couldn't find it anywhere) and then adding more floorpedals when I feel the need to.
Thanks for the advice |
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b0b
From:
Cloverdale, CA, USA
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Posted 28 Nov 2009 9:04 am
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| Jan Oelbrandt wrote: |
| I was thinking of playing E9 extended (3 floorpedals, 4 knees - but what copedent? I couldn't find it anywhere) and then adding more floorpedals when I feel the need to. |
Here are several examples of the extended E9th, Jan.
http://b0b.com/tunings/dvorcek.htm
http://b0b.com/tunings/ebovine.html
http://b0b.com/tunings/mcclung.htm
http://b0b.com/tunings/b0bE9.gif
The idea is this: Simply add two low strings G# and E to your current E9th copedent, and then add a raise of low G# to A on your "B" pedal. Anything other additions are optional.
If you want to "get started" on E9/B6 without the B6th pedals, you could set it up like this:
| Tab: |
LKL LKR P1 P2 P3 RKL RKR
F#
D# --C# -D
G# +A
E +F ++F# -D#
B -A# ++C# ++C#
G# +A
F#
E +F ++C# -D#
B +++D
G# +A
E +F
B ++C#
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-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
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Jan Oelbrandt
From:
Herzele, Belgium
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Posted 2 Dec 2009 11:53 am
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Thanks bOb, I'll look into these copedents.
By bigger consideration to take is wether to have the LKR lever change to B->Bb (like that option, blue note...) or to G#->G (also attractive of course) |
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Jim Smith
From:
Midlothian, TX, USA
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Posted 2 Dec 2009 12:37 pm
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| B->Bb is a nice change on E9, but is almost critical for B6. It corresponds to the C->B on C6. |
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b0b
From:
Cloverdale, CA, USA
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Posted 2 Dec 2009 12:39 pm
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Jan, the B to A# completes the major scale in the IV chord position, plus it gives you a maj7 chord with E's lowered (B6th mode). I rarely think of it as a "blue note" at all. It's a change that has many uses. You will need it if you ever add the B6th pedals, as it's the most essential knee lever in the C6th tuning.
_________________
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
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