Second String E9 Tuning

Billy Henderson · Post by **Billy Henderson** » 21 Sep 2006 11:13 am

My second string lowers a whole step (D# - C#) Is that a common change? I can't figure out how to use it. Any help appreciated. Thanks in advance>

Michael Haselman · Post by **Michael Haselman** » 21 Sep 2006 11:41 am

I'll be the first here. Most (95%) of E9 players have a double lower on the second string, taking it down a half, (which is IMHO way more useful than the whole step lower) then another half. With the half step, you get a 7th with no pedals, and some great sus 4 licks with AB pedals. Try and get that when you can. The whole step is good for unison licks with 5th string pedals down, and many more.

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Marrs D-10, Webb 6-14E, Peavey NV112, Hilton volume.

Wayne Wallett · Post by **Wayne Wallett** » 21 Sep 2006 11:48 am

Here's a couple suggestions. Most are set up with 1/2 stop feel at (D) can be used with strings 3,4,5,6,8,10 for a dominant 7th. Pressing past 1/2 stop to C# and pressing C pedal (raising 5th B to C# gives unisons on 2nd and 5th. Move up 3 frets from whatever your #1 chord, hit strings 2 & 5 and slowely release gives 1 string going up one down (lick Emmons used in Healing Hands of Time) cut. Then slide up 2 frets to #4 chord. Nice change. Takes you from 1 to 4 chord. Try 2nd lowered to C# with other strings & pedals, some interesting changes. Good luck.

Tony Prior · Post by **Tony Prior** » 21 Sep 2006 1:48 pm

think of it more as notes in a scale

descending or ascending scales..

along with the 2nd string raise

this offers 4 notes on the 2nd string including the natural.

Once the notes are in your head..

all bets are off..

David Doggett · Post by **David Doggett** » 21 Sep 2006 9:58 pm

The whole step lower to C# gives the 6th for 6th neck type licks on E9.

Paul Redmond · Post by **Paul Redmond** » 21 Sep 2006 11:32 pm

Try tuning it to D rather than D#. If you must, drop it to C# on a knee. Once you get used to the D and see how it enhances the tuning, especially when playing pedals-down, you'll love it.
PRR

Tony Prior · Post by **Tony Prior** » 22 Sep 2006 3:50 am

if you can adapt the D to your style of playing then that may be a good thing.

Unfortunatley for our Instrument, we can make a tuning change to make an addition, but at the same time we just removed some things which may be of value...

Only the player can determine this...

I struggled with the half stop for several months. brought the D# down to D..it was great for the phrasing that required the half stop..but I lost the D# phrases which in many cases worked with the 2nd string 1/2 step raise.

Back to D# I went and made a modification to my Steel for a very positive 2nd string half stop.

I am thinking that many folks who tune the D# down to D are doing it because they are not confident in the half stop lower.[This message was edited by Tony Prior on 22 September 2006 at 04:51 AM.]

Charlie McDonald · Post by **Charlie McDonald** » 22 Sep 2006 4:53 am

I'm thinking many tune 2 to D because a dom 7 is their default chord.
I like having the M7 as a default, with the ability to lower it to dom 7. Having both seems to increase the string's use as a passing tone.

Randy Hess · Post by **Randy Hess** » 28 Sep 2006 10:05 am

Jimmie Crawford tuned it to a D & had a 1/2 step raise to a D# & a lower to the C# (I can't remember which knees did what).[This message was edited by Randy Hess on 28 September 2006 at 11:06 AM.]

Bobby Lee · Post by **Bobby Lee** » 28 Sep 2006 10:42 am

Lowering D# to D is the standard change, and it's the most useful. Many people have a "feel stop" at D. Pushing the lever harder then lowers it to C# (and often lowers the 9th string to C# as well).

The D note is particularly useful in the positions at the II and V frets of the current key. For example in the key of G, the D# to D lower gives you a scale note at the 5th and 10th frets. The first string is also a scale note there, so you will have lots of scale runs available (especially with pedals down).

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