Learning two related tunings

David Matzenik · From: Cairns, on the Coral Sea

A6th and C6th are obviously related, and one will often suit a piece better than the other. In moving from one to the other tuning do you simply adjust the strings in your mind, or blank out one tuning and think of the other as entirely separate? What is the most efficient and least confusing approach? And then there is B11th.
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Nic Neufeld · From: Kansas City, Missouri

If you learn C6 high G, then the adaptation is somewhat minimal...all the shapes are the same, you're just shifted up like with a virtual capo. I have high E C13, so A6 involves a different "shape" so to speak. Shape is probably not the right word...common patterns maybe?

You mentioned B11, which is as close to A6 as I usually play these days (had A6 on a triple neck I rarely play). B11 to me is a variant of A6. Top four strings, where most of your melody is played, is identical to A6. The lower strings become a "split tuning" (similar to how C6/A7 works)...melody up top with A6, and then dissonant 9th/7th chords on the bottom, like a split A6/B9. Yes technically it is B11 all the way across but I think the most common usage can be thought of as the split tuning. So honestly I think if you play A6, B11 is not a difficult tuning to learn and can be thought of as a variation of it (in the same way C13 and C6/A7 are variants of C6).

"What is the most efficient and least confusing approach?" Probably not what I just tried to explain based on word count alone Shocked

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David Matzenik · From: Cairns, on the Coral Sea

Yes I understand the intervals with a top G, but I am interested in the approach to the tunings on 6 strings which I assume would have been how they were first developed and how a lot of players would come to them.
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Allan Revich · From: Victoria, BC

As one who seems to be on a never ending quest for the Holy Grail perfect tuning, I found switching tunings to be a nightmarish self-imposed Purgatory. With time, it’s become almost effortless though.

I first remember where my 1 3 and 5 are. Then where the “odd strings out” are. I have a little practice blues riff that I play to warm up, and then I settle in.

I have a long way to go before I can call myself “good”, but my simple learning technique at least make changing tuning comfortable.
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6 String | G6 – e G D G B D
7 String | G6 – e G B D G B D

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Andy Volk · From: Boston, MA

When switching tunings, while I don't always succeed in this, I try to think in terms of what is different and what stays the same.
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Dom Franco · From: Beaverton, OR, 97007

Switching between tunings is something I have avoided like the plague. It was tolerable on my old Fender double neck Stringmaster and Fender 2000 because then I just learned songs on one neck or the other.

When I was teaching steel lessons I had to use a few different tunings to meet my students needs. So I always had at least one steel guitar in C6th. But when performing I never stray from my A6th (Extended) tuning. I can't handle having to think too hard and making so many mistakes because I hit the wrong string or fret due to the different tuning.

Recording is another situation altogether. Sometimes a song requires a slightly different tuning to perhaps use "open" strings or play a special lick or chord not playable on my standard tuning, so when laying down tracks I have no problem with tuning changes. It's not the same pressure as playing at a gig with an audience, where you only have one chance to get it right! [/b]
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Fred Treece · From: California, USA

I approach it from the 1-4-5 major chord positions with a straight bar. With 6th tunings, all the notes in whatever major key are in those 3 positions, as well as all your major and minor triads. From there, the search can begin for other diatonic notes or altered chord tones between the positions, as well as how open strings can be utilized.

The difference between playing in A6 or C6 might also be related to what register the tune you want to play makes it sound better. Playing in Bb on a C6 neck means your home chord position is upper register, but on an A6 neck you can play it lower. Although first fret kinda sucks.

With B11, A7/C6, or Leavitt, its a little different because of the complexity of a split tuning (good term). But, as Andy Volk says, look for what is the same, not just what’s different. There are major triads in those tunings too, so you can try the 1-4-5 approach and see where it gets you.

And then there is slanting...

Bill McCloskey · From: Nanuet, NY

My experience was sticking with one tuning for long periods of time, interspersed with periods of wild experimentation. Example: I played dobro and G tuning for over a decade. Then I played every tuning under the sun, multiple necks and number of strings.

then I found what I wanted and am back to one neck, one tuning. I can't really progress any other way.

Mike Neer · From: NJ

I have a way around any tuning that has major or minor triads in it. It may not work straight across the neck but in terms of moving up and down the neck it is very effective and gives a solid reference point to expand into digesting other strings. It was something I did a workshop on called Triadic Mechanics. You can find common ground between C6, E13, G, D, B11 etc.
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Allan Revich · From: Victoria, BC

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