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Topic: My E 6/9 Tuning "The Top 4" String Difference |
Zane King
From:
Nashville, TN
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Lyle Bradford
From:
Gilbert WV USA (deceased)
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Posted 21 Dec 2011 8:04 am |
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| On my 4th pedal E9th I raise 4 and 5 and lower 9 and 10 and on RKL i lower 7th and get all the swing i can handle. Just getting started expiremintig the different tunings. |
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rodger_mcbride
From:
Minnesota
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Posted 21 Dec 2011 4:44 pm 6th
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I've been playing around a lot with the traditional E13 tunings up to the E6th Don Helms tuning and onto more modern E9 tunings on an vintage 8 string with pedals. I love the Don Helms sound of his top strings, the 6th (C#) just doesn't sound right without the B and the high G# all lined up make his sound what it is. Lowering the D# chromatic to C# in todays E9 just doesn't sound the same. SIngle notes, ok, but chordal strums, forget it.
I also like the the F# on a top string for Joaquin Murphey type runs. Also, the A# in the F#m that comes from lowering the B and using the A pedal is pretty useful. IN todays E9, having the D# a right there on the second string for a Major 7 (in E) is handy as well.
My beef with C# in yours (and my explorations) of todayE9 is the unison of a raised B pedal or skipping it in grips. The AB pedal raise is such a core sound to todays E9 since Bud Isaccs made it popular years ago. It has dominated the tuning ever since.
Raising to the C# to D in your tuning might be great for fast speed picking but for more flowing chordal strums and runs, and IMHO, it just gets in the way.
You have done a great job in trying to make our modern E9 better. You have some great changes from the E9/B6 universal tuning and for 10 strings it's pretty remarkable!
I guess it's all about compromises and refining one's technique for grips and string skipping. Both todays E9 and your tuning require it. Like you, I am always trying to improve on it, but I'm not there yet and applaud your efforts.
Thanks for sharing your process and keep going!
rodger |
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Billy Tonnesen
From:
R.I.P., Buena Park, California
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Posted 21 Dec 2011 9:05 pm
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| I used a similiar tuning over my active years except my first string was the F# and the second string was the G#. I was just not comfortable unless I had the C# string included in the tuning. I played mostly a horizontal style moving up and down the neck a lot. My other inside neck tuning was A6th including A & B pedals. I guess I could have been called a Hybrid player. |
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rodger_mcbride
From:
Minnesota
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Posted 22 Dec 2011 5:08 am C#
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Hi Billy,
I like the C# too and miss it when it's removed. I also like the F# on top. Moving the AB change to another tuning might be the ticket for losing the unison problem.
rodger |
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Zane King
From:
Nashville, TN
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Posted 22 Dec 2011 5:37 am
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Rodger, maybe I missing something here but as for a unison on the 5th string B to C# when engaging my (3rd pedal) also takes my 4th string C# to D. So with a pedals down position that is not unison. As for chordal strums I do a lot of those across the entire guitar. Not with "pedals down" position so much. For instance, engage my RKL and you have a Major 9 chord across the whole guitar. You are also very right on the "faster picking" side of it. I do think this tuning lends itself to speed picking for sure. So many more "Correct notes" if you will. As for the difference in grips it really is something I have done since I was 9 years old and the only world I know. So you really just learn it.
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Zane King
Email: zaneking@me.com |
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rodger_mcbride
From:
Minnesota
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Posted 22 Dec 2011 7:24 am C#
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I get that. It's just that the interval between the C# and D is so close for one pedal. Great for single note, but not a good sounding strum. On my guitar I raise the C# to D apart to get the b7 in that register. You do a great job playing that tuning and it complements your expressive style. I'm a big fan!
rodger |
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Zane King
From:
Nashville, TN
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Posted 22 Dec 2011 7:50 am
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Thanks Rodger for following along too! I love the participation in the discussion. Have a super day!
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Zane King
Email: zaneking@me.com |
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