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Post new topic Tuning High F# to G
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Author Topic:  Tuning High F# to G
Bobby Lee


From:
Cloverdale, California, USA
Post  Posted 20 Apr 2004 8:42 am    
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On E9th, the 2nd string D# is typically tuned flat, to work as the third of B and fit nicely into the E scale.

If we tune the 1st string G lever change to sound good with the E string as a minor third, it should be sharp. This is also in keeping with its function in the pedals down A7 chord.

But if we tune the G note sharp, it is horribly out of tune with the D#. Think of it this way: Eb and G are the root and major third of an Eb chord. Thirds are supposed to be tuned flat.

My question for those of you who raise the first string to G: how do you tune it? Do you tune it sharp to the E and suffer the D#? Or do you tune it flat to the D# so that those two top strings make pretty harmony together?

And then what happens when you lower the second string to D?

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax
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Joerg Hennig


From:
Bavaria, Germany
Post  Posted 20 Apr 2004 9:46 am    
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Good topic, b0b. I´ve never really thought a lot about this until now, but what I usually do is, I press A and B pedals and tune the high F# to G so that it makes a nice 7th chord with them.
This change seems to be losing popularity these days as most players prefer the whole tone raise instead. But I´ll probably stick to it forever. I guess the way to tune it depends on how you mostly use it. I haven´t ever thought about tuning it to the 2nd string since I don´t normally use them (the 2nd string and the 1st raised to G) together. With my setup, it would be possible to use it with the 2nd string lowered to D but somewhat tricky to get in tune since that D is on a non-tunable half stop- natural half stop is what I like to call it on the ShoBud- so there may always be slight variations. Anyway, it works well for all my ordinary needs, so why bother.

Regards, Joe H.
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Terry Sneed

 

From:
Arkansas,
Post  Posted 20 Apr 2004 10:27 am    
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Those two strings make perty harmony together tuned the standard way, IMO. maybe people have different opinions as to what notes harmonize together. The way I use the first two strings(F# and D#, is, if I'm playin in F, 8th fret, and want to go to Bb, I move down to the 6th fret, hit strings 1 and 2, raise my F# to G then hit Bb,( strings 3 and 4), slide back up to the 8th fret, hit 1 and 2 raise F# to G, hit strings 3 and 4,(a C chord) slide up one fret(9th fret) strings 1 and 2 raise F# to G then hit strings 3 and 4 back on the 8th fret(an F chord). it's just a 1-chord to a 4-chord, to a 5-chord, back to a 1-chord. sometime i just use the first string by itself, but it's just perty vanilla to use the two together.. don't sound out of wack to me at all, just has a little tension touch to it.
Jeff Newman, loved those tension notes.

[This message was edited by Terry Sneed on 20 April 2004 at 11:35 AM.]

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Bobby Lee


From:
Cloverdale, California, USA
Post  Posted 20 Apr 2004 10:47 am    
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So Terry, you tune the G to be in tune with the D#?
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C Dixon

 

From:
Duluth, GA USA
Post  Posted 20 Apr 2004 2:10 pm    
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I tune the first string G pull so it makes a pretty A7th chord. It is no different than when I split the 6th string whole tone lower with the B pedal. I want a good 7th here. These two strings (1 and 7)then become perfect octaves. This of course will mean it will not make a pretty E minor chord.

Just one more dilemma when one tries to tune everything JI. Certain combinations are simply not going to work. It is no different than the F#'s with pedals up versus down.

carl
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Terry Sneed

 

From:
Arkansas,
Post  Posted 20 Apr 2004 3:20 pm    
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Bobbe, yea, my first string is F# to G my second string is D# to D. I use the F# and D# together when raising my F# to G. and sometime I use the F# and G# together without raising F# to G. But I prefer the two together when raising F# to G, just has a nice harmony to me. I usually just use the D# to D as a seventh goin from a 1-chord to a 4-chord.

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TW Sneed

[This message was edited by Terry Sneed on 20 April 2004 at 04:25 PM.]

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