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Topic: 8 string tuning . . . now I'm really confused. |
Steve Green
From:
Gulfport, MS, USA
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Posted 7 Nov 2010 7:41 pm |
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I'm hoping some of you in Forumland can help this newbie figure out what tuning I'm using on my 8 string. I just got it a couple of weeks ago, and ordered a set of Herb Remington No Pedals Allowed Jagwire strings from the Forum (#J-HR-C6L) to be used for C6 Low or A6.
I started out with the C6 Low:
1. E
2. C
3. A
4. G
5. E
6. C
7. A
8. G
I never really used the two bass strings, so I dropped the low G down to an F; so that I could have the 1, 4, and "6 minor" triads all under the bar at the same time.
I liked it OK, but I (being new to 8 string, and somewhat familiar with 6 string) thought it would be better to have ONE extra "high" string and ONE extra "low" string -- instead of TWO extra "low strings".
So I retuned it for A6:
1. E
2. C#
3. A
4. F#
5. E
6. C#
7. A
8. F#
I liked this better, but again, I hardly ever used the low F#.
While trying to work out a song by ear in the key of D, I discovered that if I tuned my low string from an F# up to a G#, I could get the same minor 6th interval at the 10th fret (strings 8 & 5) as I was previously getting at the 5th fret (strings 6 & 3). This pleased me greatly, as it made the song easier to play.
I immediately rushed to Brad's Page of Steel on tunings to research this new tuning I'd found and see what it was called. When I came across C13, as used by Junior Brown, I thought I'd found it, only instead of based out of C, I'm based out of A, so I figured I was using an A13 tuning.
Much to my chagrin, after a couple of days reading the forums I realized that to be using a tuning like Junior Browns C13 (my so-called A13), my two lowest strings would have to be G & A, not G# & A -- as Junior Brown's low two strings are Bb & C, not B & C.
My question is, does the following tuning, which I am now using (and really like alot) have a name???
1. E
2. C#
3. A
4. F#
5. E
6. C#
7. A
8. G#
_________________
Some songs I've written |
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Stan Schober
From:
Cahokia, Illinois, USA
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Posted 7 Nov 2010 8:20 pm
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the chord made by those notes in the key of A
(A,C#,E,F#,G#) is an Amaj6/7
Seeing how you started with A6, and modified it, I believe that is a valid name.
_________________
Emmons S-8 P/P,DeArmond 40. Slowly drifting back towards sanity. |
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Steve Green
From:
Gulfport, MS, USA
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Posted 8 Nov 2010 3:58 am
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Thanks, Stan. So if I went to a lighter guage set of strings, and raised the tuning to:
1. G
2. E
3. C
4. A
5. G
6. E
7. C
8. B
Would I then have a Cmaj6/7?
_________________
Some songs I've written |
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George Piburn
From:
The Land of Enchantment New Mexico
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Posted 8 Nov 2010 4:06 am edit
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edit
Last edited by George Piburn on 24 Jun 2012 12:45 am; edited 1 time in total |
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Stan Schober
From:
Cahokia, Illinois, USA
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Posted 8 Nov 2010 7:14 am
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| Steve Green wrote: |
Thanks, Stan. So if I went to a lighter guage set of strings, and raised the tuning to:
1. G
2. E
3. C
4. A
5. G
6. E
7. C
8. B
Would I then have a Cmaj6/7? |
Yessir, those are the notes that are included in the Cmaj6/7 chord.
If you drop the last note to Bb as Mr.Boards suggests (C-E-G-A-Bb,) you move to C6/7
and dropping it again to A (C-E-G-A)Results in a full C6/Am7 tuning
_________________
Emmons S-8 P/P,DeArmond 40. Slowly drifting back towards sanity. |
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Jon Nygren
From:
Wisconsin, USA
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Posted 8 Nov 2010 7:17 am
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| Steve Green wrote: |
Thanks, Stan. So if I went to a lighter guage set of strings, and raised the tuning to:
1. G
2. E
3. C
4. A
5. G
6. E
7. C
8. B
Would I then have a Cmaj6/7? |
Yep, it's just C6 with a major 7 on the bottom.
You can lower the B to Bb to get Junior Brown's c13. Also, Joaquin Murphey used a variation of this by tuning the low C to C#....then you get a split tuning, c6/a9.
Nothing wrong with a major 7 on the bottom. If you like it and use it, keep it. |
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Mark Roeder
From:
Milwaukee, Wisconsin, USA
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Posted 8 Nov 2010 7:39 am
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You may want to try tuning that 8th string B to a higher B so it fits in the scale between your 3rd and 4th string. The note may be more useful than the low B. You still keep it in the same place as far as string order.
_________________
www.deluxe34.com lap steel stands, Clinesmith, Gibson Console Grande, Northwesterns, The Best Westerns
https://www.facebook.com/TheBestWesterns |
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Geoff Cline
From:
Southwest France
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Posted 8 Nov 2010 9:08 am
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| Mark Roeder wrote: |
| You may want to try tuning that 8th string B to a higher B so it fits in the scale between your 3rd and 4th string. The note may be more useful than the low B. You still keep it in the same place as far as string order. |
Someone has been listening to and/or influenced by Joaquin Murphey, eh? |
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Mark Roeder
From:
Milwaukee, Wisconsin, USA
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Jon Nygren
From:
Wisconsin, USA
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Posted 8 Nov 2010 9:56 am
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| I like the Major 7 in a higher pitch too. Try a little .020 gauge string there. |
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Steve Green
From:
Gulfport, MS, USA
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Posted 8 Nov 2010 10:01 am
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| Jon Nygren wrote: |
| I like the Major 7 in a higher pitch too. Try a little .020 gauge string there. |
Are you talking about keeping it in the same position, as the 8th string (on bottom)?
_________________
Some songs I've written |
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Mark Roeder
From:
Milwaukee, Wisconsin, USA
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Posted 8 Nov 2010 10:10 am
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Yes keep it in the 8th string position....that way it is out of the way for solo work and other chords. It seems to work better that way.
_________________
www.deluxe34.com lap steel stands, Clinesmith, Gibson Console Grande, Northwesterns, The Best Westerns
https://www.facebook.com/TheBestWesterns |
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Aled Rhys Jones
From:
Berkeley, CA
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Posted 10 Nov 2010 11:15 am
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Yes, A6th/maj7th maybe.
FWIW I just switched from C6th/Fmaj7th (FACEGACE) to 'C6th high' and really like it (ACEGACEG). I don't miss the bottom F that much and the top G is very useful. The only major loss  would be for the root of a major 7th chord but that's what bass players are for.  I tried the Murphey high B string on the 8th string but it wasn't for me. A low A there is more useful for me and can be raised to Bb also, particularly for blues. And if you like a major 7th there you could raise to B. |
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Mark Roeder
From:
Milwaukee, Wisconsin, USA
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Posted 10 Nov 2010 11:25 am
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I like the 5 on top as well. Some players say they don't need it but it does make somethings alot easier for me.
_________________
www.deluxe34.com lap steel stands, Clinesmith, Gibson Console Grande, Northwesterns, The Best Westerns
https://www.facebook.com/TheBestWesterns |
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Steve Green
From:
Gulfport, MS, USA
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Posted 10 Nov 2010 12:05 pm
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| Aled Rhys Jones wrote: |
Yes, A6th/maj7th maybe.
FWIW I just switched from C6th/Fmaj7th (FACEGACE) to 'C6th high' and really like it (ACEGACEG). I don't miss the bottom F that much and the top G is very useful. The only major loss would be for the root of a major 7th chord but that's what bass players are for. I tried the Murphey high B string on the 8th string but it wasn't for me. A low A there is more useful for me and can be raised to Bb also, particularly for blues. And if you like a major 7th there you could raise to B. |
My primary reason for having a major 7th note on the low string is not for major 7th "chords", per se.
I don't generally play "chords", I mainly solo, playing the melody with as many 2-note harmonies as possible.
The main benefit of the major 7th note on string 8 for me, is that it gives me the ability to pick up a major 6th interval (strings 8 & 5) without having to jump five fret down the fretboard to grab strings 6 & 3.
_________________
Some songs I've written |
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Leon Brannan
From:
Royal Palm Beach, FL
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Posted 11 Nov 2010 4:34 am 8 String Tuning
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| Steve, If your'e looking for FAT 7th sounds, try this. Using any 6th tuning, example A-6 E,C#,A,F#,E,C#,A,F#. Tune string 7 to C =(b3) & string 8 to A= Root. By using string 7=(b3),with strings 3=A, 4=F#,& 5=E gives you a rootless D9th. This is your 4 chord. Two frets up,5 chord. I play with 4 picks to achieve this FAT chord. You can play Blusey/Swing single note passages with the b3 as well. This Chord is repeated every 4th fret and will substitute a Diminished Chord.You can slide or mute and move up or down for the effect. You will also be impressed with the use of the #5 sound one fret up from the 5 Chord. These Chords will be all 7th Dark sounds.By selecting A,F#,A for your 4 chord, this would eliminate the 7th sound. String 7 is easy to mute with your thumb on your bar hand when you want to resolve to a root. Note; with the 5th string on top, you can resolve using strings 1,2,3,4 = Rootless M9 at the 7th fret. More possibilities, I'm sure. This tuning will work with any 6th tuning. I have C,A,D&E tuning on my Quad & A on my Beard 8 string Resonator. |
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