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Topic: edit |
Doug Beaumier
From:
Northampton, MA
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Jeff Au Hoy
From:
Honolulu, Hawai'i
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Posted 18 Mar 2015 9:17 pm |
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| This is just oozing 1950s. Absolutely gorgeous! |
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Doug Beaumier
From:
Northampton, MA
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James Hartman
From:
Pennsylvania, USA
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Posted 18 Mar 2015 9:38 pm
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| Nice workout. Interesting tuning which I've not explored much, but inspired by this. I like it with that low B. |
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Doug Beaumier
From:
Northampton, MA
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Posted 18 Mar 2015 9:58 pm
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Thanks James, yes, it's a beautiful tuning, although not as versatile as some other tunings. The top 4 strings are A6, the bottom 4 strings are B7, and the bottom 5 strings are B9. I'm constantly going back and forth (in my mind as I play) between the "A6" on the upper strings and the "B" on the lower strings. It's like a combination tuning, two diffferent tunings contained within. All 6 strings together spell B11... not a very useful chord for the stuff I play. So I avoid string 1 when playing off the "B" voicings. And avoid strings 5 and 6 when playing off the "A6", upper strings.
_________________
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 |
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James Hartman
From:
Pennsylvania, USA
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Posted 19 Mar 2015 12:37 am
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| Doug Beaumier wrote: |
| Thanks James, yes, it's a beautiful tuning, although not as versatile as some other tunings. The top 4 strings are A6, the bottom 4 strings are B7, and the bottom 5 strings are B9. I'm constantly going back and forth (in my mind as I play) between the "A6" on the upper strings and the "B" on the lower strings. It's like a combination tuning, two diffferent tunings contained within. All 6 strings together spell B11... not a very useful chord for the stuff I play. So I avoid string 1 when playing off the "B" voicings. And avoid strings 5 and 6 when playing off the "A6", upper strings. |
You use it nicely in the vid. When I've messed around with this tuning in past, seemed like everything I played ended up sounding like "Sand".
Just looking at the tuning, what I'm seeing (with straight bar) is three types of triad (major, minor, diminished) on adjacent string groups, all root position; or in groups of 4 strings, three types of 7th chord (dominant, half diminished, minor), also root position. Forward slants offer some triad inversions (major, minor, augmented). Backward slants, some dissonant structures that would serve as incomplete 7th chords, among other functions, depending on context.
That's a fair range of chord resources, although I can see a sort of inflexibility in the layout. But perhaps that's simply its unfamiliarity. |
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Steffen Gunter
From:
Munich, Germany
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Posted 19 Mar 2015 1:15 am
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Love the sound of this tuning and you really demonstrate its beauty.
I use exactly the same on my near neck, but added G# on string 1 and on string 8 what gives me a low minor, a Major 7 and adds the 13 to the B11. I try to play everything that doesn't scream for C6 with this tuning. |
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Andy Volk
From:
Boston, MA
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Posted 19 Mar 2015 2:52 am
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Beautiful playing, Doug. Your touch and subtle blocking skills shine regardless of the tuning!
B11th is a great example of how the lap steel can be, to a degree, a limited instrument in terms of the versatility of a given tuning for many kinds of music, while on the other hand, offering sonic possibilities that no other instrument can match.
B11th seems mostly used for Hawaiian balled-type tunes but it's also a natural for "Sweet Georgia Brown" type tunes that use strings of dominant chords. I arranged a few tunes in it lately (Blue Wind, Nudges) after not touching it for years.
_________________
Steel Guitar Books! Website: www.volkmediabooks.com |
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Bill Leff
From:
Santa Cruz, CA, USA
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Posted 19 Mar 2015 4:26 am
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Nice!
I have been obsessed with this tuning for the last week after listening to the Lovey Liu kitchen recordings that were the subject of a recent post. It is so easy to get a classic 50s vibe with this tuning. Big fat 9th chords! It does have its drawbacks, namely for me is getting a nice plain major chord with the root on top. The standard Hawaiian turnaround cliches ala Benny Rogers with Auntie Genoa are not easily achieved as they are in a major or 6th tuning with the high third on top. But what it lacks in that department is made up for with those cool jazzy chords. Just saying it might not be the right tuning to use on a gig with a uke player/singer playing the usual Hawaiian hula and contemporary repetoire.
Jeff AuHoy - would love to hear your opinion on this as a busy working steel player in Hawaii. |
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Mikiya Matsuda
From:
San Francisco, California, USA
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Posted 19 Mar 2015 10:05 am
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Luscious! I really enjoyed this. Sounds excellent going straight into the amp.
Just curious, have you compared it much with G11th? I've only dabbled in 11th tunings, but this is making me want to spend more time with either B11 or G11 and see how they'd work for chord melodies.
_________________
www.mikiyamatsuda.com
www.alcatrazislanders.com |
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Doug Beaumier
From:
Northampton, MA
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Posted 19 Mar 2015 10:17 am
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Thanks for the kind comments. I've never tried G11, just this B11. B11 is very rich and lush in 9th chords and 7th chords and there is a full 6th chord. I don't think it's ideal for a lot of melodies though. When playing melodies on this tuning I always find myself reaching for high notes that are not there... not within a few frets anyway. Something's missing on top, and I have to do slants or move the bar way up to get what I'm looking for. Maybe that's because I'm so used to 6th tunings. But B11 can't be beat for rich, full 9ths and 7ths, and I really like those sounds!
_________________
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 |
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Tom Campbell
From:
Houston, Texas, USA
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Posted 20 Mar 2015 12:19 pm
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| I put this tuning on my 12 string pedal steel. I devoted one pedal (three pulls) to get to a B11. Because I also play non-pedal steel, I though it would be convenient to have the B11 on my E9/B6 pedal 12 string. |
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Doug Beaumier
From:
Northampton, MA
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Tom Campbell
From:
Houston, Texas, USA
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Posted 20 Mar 2015 3:15 pm
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| Yes...no big deal...I don't give it a second thought. The pedal is directly in front of my right foot. |
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Todd Clinesmith
From:
Lone Rock Free State Oregon
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Posted 20 Mar 2015 3:21 pm
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| Sounds great Doug. I have been putting some time on a version of G11 lately and have found some great chord possibilities. I love the B11 too. |
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Todd Clinesmith
From:
Lone Rock Free State Oregon
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Posted 20 Mar 2015 3:22 pm
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| Sounds great Doug. I have been putting some time on a version of G11 lately and have found some great chord possibilities. I love the B11 too. |
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Doug Beaumier
From:
Northampton, MA
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Todd Clinesmith
From:
Lone Rock Free State Oregon
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Posted 20 Mar 2015 5:51 pm
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Yes the 6 string version is similar, I added roots on strings 1 and 8 , and there is a 6 on string 2, which opens up quite a bit more for chordal variety. Also I think the higher gauges sustain a lot better in the bass end. Tho I have never been thrilled with the sound of a high G ( at least when I play it). As you point out it is apples and oranges at some point.
I'll try and post a tune next week. |
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Jerry Gleason
From:
Eugene, Oregon, USA
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Posted 20 Mar 2015 10:25 pm
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| That's very nice, Doug. I've been away from B11th for a while. I need to get back into it again. |
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Steve Marinak
From:
Man O War Cay, Abaco, Bahamas
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Posted 21 Mar 2015 3:13 am
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I'm new to playing steel, but an old guitar player. It's interesting to me that everyone seems to focus on the B11 tuning. Without that knowledge, I noticed the lush tone, and I love it. I'm a P90 fanatic and I'm assuming that's on this steel guitar. It also made me wonder which Bassman, blackface? Tweed? Love the tone and sound.
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Steve Marinak |
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Joe Elk
From:
Ohio, USA
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Posted 21 Mar 2015 6:15 am
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Very Nice Doug. I generally do not like anything that is not country or western swing. However, I have listen this several time and I liked it a lot!!
Joe Elk |
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Len Amaral
From:
Rehoboth,MA 02769
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Posted 21 Mar 2015 7:59 am
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| Nice touch and sweet vibe. It's on my play list for sure. |
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Doug Beaumier
From:
Northampton, MA
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Len Amaral
From:
Rehoboth,MA 02769
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Posted 21 Mar 2015 8:19 am
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| Nice down pressure over the bridge to where the strings attach. Looks like a sweet guitar. |
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James Hartman
From:
Pennsylvania, USA
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Posted 21 Mar 2015 9:28 am
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| Doug Beaumier wrote: |
Thanks guys, I think the pickup is pre-P90. These black Century 6 Gibsons were made in the late 1940s until about 1950. In the 1950s the Century 6 took on a new look and I believe a different pickup. This one really growls. I got lucky with this one!
The Bassman amp is from the 1980s I believe. It has a black faceplate and says Bassman 60.
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That pickup does not look like a P-90. Duchossoir's book describes it as "non-adjustable pickup with 6 alnico magnets". In other words, the magnets are the pole pieces, rather than bar magnets underneath. Also the coil looks wider than a P-90.
In any case, that is truly a sweet sounding instrument. |
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