Tuning for prevalent keys.

[Marty Forrer]

As a beginner, I've been fluctuating between tunings, trying to settle on one that suits me, but I'm struggling. The goal is to play the lap on some songs in my band (in which I play double bass). The majority of songs are in the keys of C, D, and G. Do you experienced players think C6th is the tuning for me?

[Tony Lombardo]

My vote would be A6. I've played tunes in your three keys in this tuning quite a bit, and I generally like the results. Your home frets will be the 3rd fret for C, the fifth fret for D, and the 10th fret for G. None of these frets are rodiculously high on the neck, and all three of them offer good options on frets lower than the home frets. A6 would be my pick, but (a) I'm biased because I use that tuning exclusively, and (b) I don't know anything about any other tuning(s), and (c) as a not-so-good lap steel player, I may not be the person to ask.

Sincerely
Tony L.

[Jeff Mead]

I'd agree with Tony. With most styles of steel, you don't tend to use open strings much.

If you're playing in the key of C with C6 tuning, you'll be spending a lot of time around the 12th fret so it will all be a bit high pitched. Also, you will probably be hitting the notes 2 frets lower than the home key a lot so playing in D also means you'll be around the 14th a lot (because if you start on the 2nd fret, you'd be using a lot of open notes again).

But of course, if you suddenly start doing some songs in A you'll have the exact same problem with A6.

As a bass player, you might find (as I did as a guitar player) that A6 is easier to relate to than C because you probably know where all the notes are on your A string so, almost without thinking, you will know that you'll find a D chord on the 5th fret and an E on the 7th. I'd have to think about it a bit more if I was in C6.

[Dom Franco]

Another vote for A6th from me. C, D and E are the most common keys for a lot of singers, and very easy on the A6th tuning.

[Chase Brady]

I use A6 for the 8-string lap steel, and find it great for those keys. On the 6 string, I prefer open D. I use the 6 string for blues/rock and for solo work. The 8 string is better for country/pop in a band setting.

[Mike Neer]

I would suggest taking a look at this tuning if you play a 6 string steel:

G6

D
B
G
E
D
G

I just suggested the tuning for a student and strung up one of my old 6 string steels with it and I really, really like it. If your keys are predominantly G C and D, I would say it's a no brainer. The key of G is one key where using the open strings really sounds great. Because the guitar (and slide guitar) and dobro and the key of G are often associated with those ringing open strings, lap steel guitar lends itself nicely to it and is easily accepted.

[Ray Montee]

Whether or not your 'tuning of choice' is C6th, A6th or whatever..........

WHAT DIFFERENCE does it really make as to which keys a majority of your bands' songs are played in.

One should be able to play any song, anywhere along the neck......... or, in any key decided upon by the band or vocalist. Changing tunings is not a necessity, generally, for the skilled all-around player.

Some keys afford the player with options that others do not. B. Bowman Hop, Playboy Chimes, Boot Heel Drag and other similar numbers were originally played in a specific key selected by the author of the tune. By no means does one HAVE to play it in the same key and tuning unless he/she wants it to sound JUST LIKE THE RECORD.

Does anyone agree?

[Mike Neer]

I don't really agree, Ray, just like Billy Hew Len didn't agree. He played a lot of songs in the key of C, which is why he tuned his steel to A6, so the bar would be on the strings. I can play in any key in C6, but certain keys do not have a great timbre in that tuning.

I'm not sure that I would personally make that kind of change, but I don't make my living playing that way. I suppose if I was working with an artist who frequently played in certain keys, it might make sense stylistically to use certain tunings. I know you are not a fan of the more recent styles of playing, but it is no doubt a part of the vernacular and history of steel guitar.

Dobro players are very conscious of the keys that tunes are played in. It affects them greatly.

[Ray Montee]

Good point Mike........

But wouldn't that theory apply to all stringed instruments? Like harps, piano, violins, etc, etc.??

[Mike Neer]

No, because there is only one way to play a note on those instruments (except for violins, of course).

[Stephen Cowell]

...
WHAT DIFFERENCE does it really make as to which keys a majority of your bands' songs are played in.

I sure have a problem playing Remington Ride without that open string E for the pull-off... I've tried holding two bars in my left hand and using one for the pull-offs, it's not easy by any means! Think I'll get a big heavy thimble and try that... naw, just keep playing it in D.

[Paul Seager]

I came to steel from bass and play both in a country band. Most of the songs we play are in C, D, E and G just to optimize to the vocalists' needs (of which I am one).

I use C6. I agree with the comment that open strings become annoying when you're playing in C. The timbre is different and for that reason I either play around the 12th fret or use slants.

I have a second neck now tuned to A6 and I like the slightly deeper tuning but if you like to play a lot above the 12th fret, kind of what I call Don Helms style, it gets a bit tight in say E. This is probably a practice issue as much as anything.

I should add that I am using the same string gauges on both steels and A6 doesn't feel as nice with the strings slackened but this is something I'll correct later

[Morgan Scoggins]

I will go along with Tony about the A6 tuning. It puts the popular keys of C , D, E and G in very user friendly places. A6 tuning also gives you a full major chord on strings 1, 2 , and 3. C6 tuning requires a lot more bar movement unless you add a high G string, but it has a thin shrill sound that you would have to tolerate.
I learned a lot from Herb Remington, so I am a bit biased, but A6 tuning is the way to go. Also, you can easily retune A6 to C6 so both tunings are available to you.

[Robert Allen]

Dobro players are very conscious of the keys that tunes are played in. It affects them greatly.

How so? I've played dobro for more than 60 years and can play in any key with ease. I'm as comfortable in Eb as in G and I don't use a capo.

[Joe Burke]

I'm curious to try A6. Can someone list out the tuning?

Thanks

[Brad Bechtel]

For six string steel guitar:

1. C#
2. A
3. F#
4. E
5. C#
6. A

You could use the same string gauges as you'd use for open G tuning (standard dobro tuning).

For eight string tuning, add a high E as the first string and a low F# as the eighth string.

[Joe Burke]

Thanks Brad. So same configuration as C6. I wondered that if that was the case. I have Andy Volk's handy "Slide Rules" book. It has a high E, and therefor the top 6 strings of the 8 string version you mentioned.

[Jim Palenscar]

Perhaps it can be inferred by the keys that you commonly play in, but the type of music that you play should also have a role in your selection. For example- if you played a lot of blues, DADF#AD is a good one as it is the 7th of E and works well in those instances.

[b0b]

Stella is tuned G B D F# A D. When the bandleader calls a song in the key of C, I say "Stella doesn't like C". It gets a laugh, and I play her in C anyway. But it's true - C doesn't sound as good as the sharp keys on that guitar. There aren't as many harmonic points.

[C. E. Jackson]

My vote would be A6 tuning for use on 6 string, 7 string, or 8 string steels. I learned on A major tuning in 1949, and it was very easy to learn to play A6 tuning on 6, 7, or 8 string steels. With the A6 tuning I find that I can play any song without difficulty.

6 string A: A C# E A C# E

6 string A6: C# E F# A C# E

6 string A6: A C# E F# A C# (occasionally)

7 string A6: A C# E F# A C# E (favorite)

8 string A6: F# A C# E F# A C# E

For the last few years, my favorite instruments have been vintage 7 string Gibson steels.

[Chris Rice]

I would suggest taking a look at this tuning if you play a 6 string steel:

G6

D
B
G
E
D
G

I just suggested the tuning for a student and strung up one of my old 6 string steels with it and I really, really like it. If your keys are predominantly G C and D, I would say it's a no brainer. The key of G is one key where using the open strings really sounds great. Because the guitar (and slide guitar) and dobro and the key of G are often associated with those ringing open strings, lap steel guitar lends itself nicely to it and is easily accepted.

This is my favorite tuning for 6-string, and the basis for the tuning on my pedal steel. I'm also coming from a double bass perspective, and basing the tuning in G is very easy after playing up and down the G string for 20 years.

Stella is tuned G B D F# A D. When the bandleader calls a song in the key of C, I say "Stella doesn't like C". It gets a laugh, and I play her in C anyway. But it's true - C doesn't sound as good as the sharp keys on that guitar. There aren't as many harmonic points.

Thanks for sharing this tuning! I just put it on my great-grandpa's guitar, and I think it will stay there. Very easy to harmonize on.

[Tony Lombardo]

Two different A6 setups have been discussed here: An A6 with an E on top and an A6 with a C# on top. If you are going to try A6, I would suggest going with the one with the E on top. I find the third on top disconcerting and a bit confusing. Having the the fifth on top is much better to me.

[Jeff Mead]

Two different A6 setups have been discussed here: An A6 with an E on top and an A6 with a C# on top. If you are going to try A6, I would suggest going with the one with the E on top. I find the third on top disconcerting and a bit confusing. Having the the fifth on top is much better to me.

I too prefer the A6 with E on top - I also like having the major chord on the top 3 strings and the relative minor on the next 3 (particularly when I was starting out).

But I can see the logic in having the C# on top because then it is exactly the same tuning as C6 with E on top but everything 3 frets lower and there is a huge amount of educational material available for that version of C6.

Of course, you can still use that material with A6/high E by thinking of your second string as the first (and adjusting the fret positions by 3, obviously).

[Charlie McDonald]

G6

D
B
G
E
D
G

Stella is tuned G B D F# A D

What would be appropriate guages for G6?
It looks like I could use the same for b0b's on an old acoustic.

[Chris Rice]

G6

D
B
G
E
D
G

Stella is tuned G B D F# A D

What would be appropriate guages for G6?
It looks like I could use the same for b0b's on an old acoustic.

I'm doing these tunings with regular .012 gauge guitar sets. A little loose on top on the short scales and a little tight on the bottom in the long scale, but not bad and totally playable and readily available. 25" scale tricone, 22.5" scale laps.

Actually, thinking about it some more, I swapped to the John Pearse nickel 8-string C6 set, not using the 1st and 8th strings on the Tricone. Good balance, very bright sound.