Interesting G based tuning

HowardR · From: N.Y.C.-Fire Island-Asheville

One of my Benoit 7 string resophonic guitars has a foot pedal that lowers my fourth string 1/2 tone. I've been playing around with G7/G6 low > high

G B D F(-E) G B D

My current musical interest is Django/Gypsy Jazz and some European traditional music. I can't ever remember seeing a major triad in any of this music as it's mostly minor triads, m6, m7, dom7, maj6, maj7, 9ths.....

I like to play & comp in auto harp mode at times by strumming or tapping 4 & 5 strings to get a nice full voicing and/or percussive sound.

I realized today, that by flatting one of my B's, I would have a more versatile tuning without having to really give up anything.

G Bb D F(-E) G B D

but not just for the Gm triad, as EGB gives me an Em triad, but, strings 1-5 gives me a Gmaj6 (w pedal)& Em7. On strings 3-7, a Gm6.

Without engaging the pedal, a G7 on strings 1-5, and a Gm7 (Bbmaj6) on strings 3-7.

This gives me pretty much everything I need to play the enhanced chords for the tunes that I want to learn. It divides the fretboard in half, almost. The "treble half" will allow maj variations and the "bass half" will allow minor variations.

If I were to add a string, I would have the 8th string tuned to high A and be able to grab a 9th chord with strings 1-4 while hitting the A with my thumb.

I've really been having some fun with this variation. There's a lot more in there also (to be discovered) with slanting and choking. I think this sleeper may be a keeper.

[This message was edited by HowardR on 10 October 2005 at 03:17 PM.]

AJ Azure · From: Massachusetts, USA * R.I.P.

Howard, I'm in the same boat. Although haven't added the F and Bb quite yet.I've been sticking with G6 for my gypsy and jazz stuff in general. I actually comp as wekl as play leads and do ti fairly comfortably in this 6 string tuning. Hoping to s ep up to a custom made tricone 8 string at some point. Ya gotta have goals/dreams

I honestly beelive that for acoustic old jazz and gypsy style, G is a much better tonality than C6. Mainyl due tot he fact that you may nee dot actually provide a similar rhythmic feel as the standard rhythm guitar Reinhardt's Hot Club 5. I think having a low D AND E are defintiely a plus as well as your 7 tuning (not sure about being comfortable with the the pedal but, it's neat for sure) but you get in to either a 9 or 10 string tuning. Well you have that 10 string

.

-Adriel

HowardR · From: N.Y.C.-Fire Island-Asheville

The C6, C6/A7 tunings are quite versatile. They sound better on an electric instrument as opposed to an acoustic.

I first put these tunings on a couple of resonators to get a thin sound that I hear in the Selmer/Maccaferri guitars. Although I accomplished this, I realized afterward that the beauty of the resophonic is it's full conal sound (especially in G), and that I should pursue the playing styles of the artists and adapt what I can, rather than trying to coax a "dobro" into what it is not.

Since I know G the best, I should standardize by staying in G, even in variations of G, since I understand it the best.

Inspiration of what can be played outside the box in G are quite evident with Stacy Phillips, Rob Ickes, and Jerry Douglas.

[This message was edited by HowardR on 10 October 2005 at 11:32 AM.]

Andy Sandoval · From: Bakersfield, California, USA

How's about you boys postin a tune or two, sound's like pretty cool stuff.

HowardR · From: N.Y.C.-Fire Island-Asheville

I'm not quite sure how to do that, but perhaps I'll get a crash course at the HSGC in a few days.

I'm sure that my playing will be kinda, "raw" but I'd like to post it regardless.

AJ Azure · From: Massachusetts, USA * R.I.P.

Ya know Howard, I'll have to come up and have you record samples of eahc steel you own some day. I do remote recording with my lap top rig. An audio steel museum. lol

I've looked at C6/A7 as well as tons of other tunings but, always pulled back to G. I think that you can create very nice sounds on reso and compliment gypsy and jazz rather than imitate. The violin doesn't try to sound like a guitar. There's room for reso's own unique tonality.

On a non-reso acoustic jazz sound.
I know you had that Selmer guitar, have you ever thought of an archtop design for later jazz tone. It's something I have toyed with as a possible 'interesting' sound.

Andy,
I'm actually mixing some live stuff as well as demo recordings we're workng on. Hopefully will be done by the end of this week and will glady post samples for perusal. Please be gentle lol

HowardR · From: N.Y.C.-Fire Island-Asheville

Adriel, (cool name)

Interesting point about imitation. I try to imitate for this reason....I want to have a style and sound that does not sound like bluegrass. It's very easy to have the bluegrass sound, especially in G.

As much as I may try to imitate the Gypsy guys, there are techniques and sounds that cannot (or I cannot) be exactly imitated or even close. So this ends up being somewhere in between. Sometimes closer to one style than the other, but hopefully the seed of something original.

Now, I need to learn my way around the fretboard by concentrating on the scales, natural minor, harmonic & melodic minor, and modes.

There sure is something about the conal sound with the darker scales. If I improve, I may have to wear one of those black hooded robes....

AJ Azure · From: Massachusetts, USA * R.I.P.

Howard,
Thanks for the compliment on the name

I think that imitaiton is very improtant and as uch as wanting to cop lines form Django, slitenign to hsi infleunces such as Louis Armstrong, Bix Beiderbecke,e tc. might alos be a good approach. What I meant by not imitating is not trying to imitate tonality. Melodicism, phrasing, etc. are another story.

You're definitely on the right track with thinking out of the standard major scale in not sounding too bluegrassy.

One of the big keys I've found is clsoed position playing. Also chormatics are so 'right' for these styles whereas in bluegrass it could be a no no depending on where it's used.Then of course extended arpeggios and diminished runs.

Oh and you can never discount singing what you want to play. Eventually what you play and what you hear in your head actually meet. I have almost reached that point.

Hmm I am missing the black robe reference. I usually get your jokes!

OOh funny I should mention archtop?..Ok now I know there's a new design concept you've been having built..hmmm oh boy now I'm curious!!

Keep Djpicking

-Adriel

HowardR · From: N.Y.C.-Fire Island-Asheville

Black robe...think Darth Vader. A dark figure. Minor chords, minor scales....dark, solemn.

In about three weeks I should be able to post the latest masterpiece by Carroll Benoit.

AJ Azure · From: Massachusetts, USA * R.I.P.

Ok I thought you meant Vader! Then again you said modes so I thought monks.

Hmm a new goody from Carol... wow you tease! lol

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