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Topic: C6/A7 |
Rick Collins
From:
Claremont , CA USA
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Posted 15 Dec 2006 8:27 am |
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Is there great advantage tuning C6/A7 instead of full C6th?
I play Hawaiian on the eight string tuning and tune (high to low) ECAGECAG. Most of the melody I play on the first five strings, but play some bottom chords.
Please give me some examples of tunes where the possibilites in the C6/A7 greatly enhance the beauty of the tune.
Many thanks, RC
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Edward Meisse
From:
Santa Rosa, California, USA
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Posted 15 Dec 2006 8:48 am
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| I have found none. In fact, on the tunes I play the C# tends to get in the way more than anything else. A good place to look for examples of how to use the C# is in Jerry Byd' tablatures. I think they're available from Scotty's music. If I remember right, Sophisticated Lady uses alot of it, Stardust uses some, Red Sails in the Sunset is another that uses it. I'm Confessin' also. |
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Roger Shackelton
From:
MINNESOTA (deceased)
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Posted 15 Dec 2006 9:05 am
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I have also seen the C-6th tuning with an F note on the 8th string.
Is that an advantage? |
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Jesse Pearson
From:
San Diego , CA
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Posted 15 Dec 2006 9:08 am
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Rick, here's a lesson I wrote for myself awhile back to help me understand this tuning. JB did go to a 7 string tuning later on. If I had one, I would put the C# on the very bottom and the regular C above so I still had that strum chord, but I guess it doesn't matter because you can mute a string if you want. I thought the C6/A7 tuning worked very well on that famous Hawaiian Vamp, II7 - V7 - I.
http://steelguitarforum.com/Forum8/HTML/001891.html |
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Jussi Huhtakangas
From:
Helsinki, Finland
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Posted 15 Dec 2006 11:01 am
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You get a diminished without slanting, but I don't know if you guys consider that as an advantage.  |
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Eddie Cunningham
From:
Massachusetts, USA
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Posted 15 Dec 2006 11:59 am
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I use a C6th with hi F on top. Gives a nice F maj 7th on the top 4 strings.And lo C on the bottom & then Bb for the C7th. Works for me on Hawaiian songs.
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Don McClellan
From:
California/Thailand
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Posted 15 Dec 2006 12:16 pm
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Having the C# on the bottom is very important. Don't cheat yourself by leaving it off. In the open position it not only gives you the essential A7th chord but you get a beautiful and very useful non-root Eb13th chord, a very sweat non-root Bb minor/major7 add9 (?) using the C# string as the minor 3rd and playing strings 3 and 2 also. And, as mentioned, you get a diminished chord. It also makes single note playing better and more interesting. Without it what do you get? Do you think Jerry Byrd used it for nothing? Of course not.
My two cents. Thanks, Don[This message was edited by Don McClellan on 15 December 2006 at 12:19 PM.] [This message was edited by Don McClellan on 15 December 2006 at 12:23 PM.] [This message was edited by Don McClellan on 15 December 2006 at 02:57 PM.] [This message was edited by Don McClellan on 15 December 2006 at 03:04 PM.] |
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Paul Brainard
From:
Portland OR
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Posted 16 Dec 2006 12:58 pm
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I once figured out JB's recording of P'au 'au 'au Waltz from "Hawaiian Style" (I think. . almost wore out the record too. . .) which is devastatingly gorgeous. I don't know for sure which tuning he was using but as an experiment I tuned my low C up to C# and it really seemed to make it click. It created some cool new slants as well.
Another thing it gives you is a nice low V7 chord 2 frets down from the I position. |
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Edward Meisse
From:
Santa Rosa, California, USA
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Posted 16 Dec 2006 1:27 pm
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| Jerry's Tablature for that is in C6/A7. He uses the 6th string some. But not as much as the ones I listed above. Yeah, y'know that is right. It does help alot on single string stuff. That's probably a big part of the reason Joaqin Murphey used it. [This message was edited by Edward Meisse on 16 December 2006 at 06:33 PM.] |
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