| Author |
Topic: How do you approach a brand new tuning |
Bill McCloskey
|
Posted 18 Feb 2018 12:29 pm |
|
so, you've decided to put the ultimate 6, 8, 10, 12, 14 string tuning on your lap steel. Now you need to learn it. How do you approach the task?
Would you start by learning where all the chords are? all the scales? would you try and transfer over licks you already know and see if you can get them to work in the new tuning?
What is your first step in learning and studying a new tuning? |
|
|
 |
Pat Agius
From:
France
|
|
|
|
Levi Gemmell
From:
New Zealand
|
Posted 19 Feb 2018 12:51 am
|
|
I'm with Pat. A few days ago I started a new tuning (E13th), my first new tuning since I began with C6th. The first thing I did was figure out Sophisticated Hula, which I like to play in the first tuning, but actually lays out a bit better with straight bar in E13th. By the time I got to the end, I found a couple of familiar hula vamps and something new too; the real result is that after a couple of hours I can see the fretboard in a much more familiar light. Certainly not advice on how to crack right in, but I'm pleased with the experience.
_________________
Commodore S-8
John Allison S-8
JB Frypan S-8
Sho~Bud LDG SD-10
1966 Fender Super Reverb |
|
|
|
Jerry Wagner
From:
California, USA
|
Posted 22 Feb 2018 5:57 pm
|
|
| I played dobro decades ago, then didn’t play for many years. Started playing again about 12 years ago, and had the good fortune to fall into playing with a Hula band. Ya’ just never know! I got a hollow neck with a pickup, then finally went electric. That’s when I got the funny idea that a high G string could be more useful than the low G. Now I play a 7-string Ric Bakelite with GM6/CM7 tuning: Hi to Lo: G,D,B,G,E,C,Bb. This is a versatile tuning you can strum. And you get D & G chord positions at the 7th fret, 2 frets above C & F chords at the 5th fret. This tuning works good for playing harmonics too. So now that I’m familiar with C tuning fret positions, maybe learning C6th will be easier? I hope! |
|
|
|
Doug Beaumier
From:
Northampton, MA
|
Posted 22 Feb 2018 6:56 pm
|
|
Buddy Emmons said the first thing he sees in a new tuning is intervals... the root, 3rd, 5th, 6th, etc. That's what I look for too. And building on that, the basic chord positions, majors and minors, and the string grips for those chords. Then I look for scale patterns and harmonized scales, 3rd and 6ths. If things don't lay out smoothly, I move on to another tuning.
_________________
My Site / My YouTube Channel
25 Songs C6 Lap Steel / 25 MORE Songs C6 Lap Steel / 16 Songs, C6, A6, B11 / 60 Popular Melodies E9 Pedal Steel |
|
|
|
Tom Wolverton
From:
Carpinteria, CA
|
Posted 22 Feb 2018 11:10 pm
|
|
A slight off topic question. How many different tunings is practical to know & play?
_________________
To write with a broken pencil is pointless. |
|
|
|
Andy Volk
From:
Boston, MA
|
Posted 23 Feb 2018 2:13 am
|
|
When looking at a new tuning, I follow Doug's approach. Additionally, when you learn something on a given tuning and move to a new tuning, looking at what's the same and what's changed is very helpful. If some aspects are identical, then you only have to learn what's changed.
_________________
Steel Guitar Books! Website: www.volkmediabooks.com |
|
|
|
Stefan Robertson
From:
Hertfordshire, UK
|
Posted 23 Feb 2018 5:53 am
|
|
I strongly believe Frank Vignola method has helped me the most.
Learn the C Ionian Major scale. Teaches you where all the notes are. Then the rest is theoretical application of that knowledge.
Interval ear training is great but I'm sure many including myself would struggle with close voiced chord movement.
eg. B, C, E (Lo-Hi)
If you learn the note locations of the C Major Scale first that shows you the real strength of the tuning because you are then able to learn the chords easily. Its all mathematical.
I've said it before one tuning learned inside out cannot be beaten but the flexibility of that tuning is crucial. E13 hasn't been beaten yet. IMHO
Also depends what you are happy with. If you want a tuning that has triad inversions or are you happy suggesting chords with Dyads and Octaves. I wanted all 3 as they are all used in chord melody.
PS I also tried the Circle of Fourths tuning which has every single note and still couldn't get the same number of voicings under a straight bar.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist"
Last edited by Stefan Robertson on 23 Feb 2018 6:27 am; edited 1 time in total |
|
|
|
Doug Beaumier
From:
Northampton, MA
|
|
|
|
David M Brown
From:
California, USA
|
Posted 23 Feb 2018 10:08 am
|
|
| Doug Beaumier wrote: |
| Quote: |
| How many different tunings is practical to know & play? |
I think it's important to stick with one tuning for a while and learn it well before moving on to other tunings, but having said that... I think two or three tunings should cover most styles of music. In my opinion that would be a 6th tuning with the 3rd on top, a 6th tuning with the 5th on top, and a tuning with a dominant 7th, 9th, or 13th built in. |
I'd agree, and that has been my approach over the years.
My needs are a very early low bass major tuning, a 6th tuning, and something with 7ths, maybe 11ths and 13ths.
But even B11 is just a root position B triad with an A triad stacked on top.
Where the rubber hits the road is knowing a tuning well enough to be able to play by ear and read staff notation. |
|
|
|
