| Author |
Topic: The Magic that happens in a 6th tuning? |
Stefan Robertson
From:
Hertfordshire, UK
|
Posted 14 Mar 2016 5:40 am |
|
Okay so I need to know.
What is the key takeaway about the 6th tuning repeats?
Is this because it enables a steel player the most inversions.
Does it also lend itself better to chord melody?
I also noticed that due to the nature of the tuning that hitting sour notes in close proximity is less likely than the "leavitt Tuning" for example.
What is the key to this repeated interval? Why does it work so well?
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
|
|
|
Mike Neer
From:
NJ
|
Posted 14 Mar 2016 6:27 am
|
|
This simple question has complex answers and I'm not sure that I can answer them. However, I will offer up some of my observations in regards to C6 and its architecture.
The instrument is not really designed to be played as a chordal instrument in the same way that a guitar or piano is. Frankly, C6 is rather simplistic with regards to any advanced harmony. However, if you look at the intervallic spread of the tuning, there are a lot of possibilities for covering some of the most commonly used intervals (minor and major 3rds, min and maj 6ths, octaves, and perfect 4ths and 5ths). These intervals are very easy to play as melodies and harmonic fragments. A lot of ground can be covered, whether you are into ECM type jazz or Hank Williams.
Another beautiful thing about C6 is that there is a sense of symmetry to it (when you get to 8 strings), which makes it easier to get to know the tuning and location of all notes all over the neck. While other tunings may offer greater possibilities and flexibility, for me it is more important to know where the notes are because I know what I want to play in terms of improvisation and I don't want to go hunting and pecking for those notes. I have my own ways of visualizing the fretboard and doing so lets me just put my mind to the music. Granted, I don't believe that my improvisations are anything special, but at the least they are what I am hearing rather than just grabbing randomly.
Also, having octaves and less clusters of tighter intervals means you actually have to move the bar! I like moving the bar around and I have really been embracing and incorporating some radical sliding into my playing. Yes, it's nice to have a cluster of smaller intervals for improv, but my vision is to embrace the steel guitar and all its limitations and hopefully find a great compromise.
I've tried to reinvent C6 and even come up with my own tunings, but in the end there is a magic that I can't explain that always makes me feel that C6 is close to perfection. Getting to know it intimately through the eyes of the great players (by transcribing their solos) has helped me to see the tuning more deeply.
I still think that the layout I did of the Harmonic Mechanisms for steel guitar (borrowed from George Van Eps) and the Slantzilla layout have really given me a huge boost in seeing the neck without having to resort to just common positions.
_________________
Links to streaming music, websites, YouTube: Links |
|
|
|
Kay Das
From:
Los Angeles CA
|
Posted 14 Mar 2016 10:30 am
|
|
Its all in the brain. A C6 is also an inverted Am7, so depending on the way you think while playing you can sound "major" or sound "minor".
The major 6th is a great tuning and eight strings on lap steel is more fun. By the way, the top four strings of a normal guitar also constitute an inverted 6th chord. This has been exploited by a few "slide" players.
Kay |
|
|
|
Bob Stone
From:
Gainesville, FL, USA
|
Posted 14 Mar 2016 11:52 am
|
|
I agree with Mike and Kay, and would add the string gauges for C6 are very nice in the range where most playing is done. For example, you can go to the 6th or 7th string on the 12th fret or higher before tone begins to get too "tubby."
Most of my playing these days is jazz/swing/standards, which means often playing in flat keys such E flat, F, B flat, or A flat, all of which lay nicely on the C6 neck. |
|
|
|
Stefan Robertson
From:
Hertfordshire, UK
|
Posted 15 Mar 2016 12:04 am
|
|
Great input guys. Thanks. I currently don't use the c6 tuning anymore but there are times where I wish I did as I have to transcribe everything.
I also noticed that chord melody playing seems to layout better on the C6th tuning than most other tunings.
I'm thinking of reincorporating it somehow into my tuning. Either that or I'm going to have to do some pretty tricky slants as I'm discovering. Playable but still technical.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
|
|
|
Mike Neer
From:
NJ
|
Posted 15 Mar 2016 3:39 am
|
|
It only lays out better for chord melodies if those chords and melodies you need line up. It's often not the case for more harmonically rich material. Anyway, I feel it really important to be able to break things down to a simple level. If you start looking at the whole of extended chords, you start to see them as stacks of triads.
_________________
Links to streaming music, websites, YouTube: Links |
|
|
|
Stefan Robertson
From:
Hertfordshire, UK
|
Posted 15 Mar 2016 11:32 pm
|
|
| Mike Neer wrote: |
| It only lays out better for chord melodies if those chords and melodies you need line up. It's often not the case for more harmonically rich material. Anyway, I feel it really important to be able to break things down to a simple level. If you start looking at the whole of extended chords, you start to see them as stacks of triads. |
I have been studying extended chords and their functions this week
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
|
|
|
