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Topic: Tab software |
Bill Atwood
From:
Kingsland, TX. USA * R.I.P.
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Posted 3 May 2004 11:30 am |
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| Is there any software available that will convert E9 & C6 tab to Reece's Bflat 6th tunning? |
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Bob Knight
From:
Bowling Green KY
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Bill Atwood
From:
Kingsland, TX. USA * R.I.P.
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Posted 4 May 2004 6:09 am
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Sorry about that, my question needed more explanation.  I am trying to play 12 string universal and have trouble with C6 due to the F#, D#, G# on strings 1, 2 & 3. I like the Bb6 tuning that Reece plays and was wondering if there was an easy way to tab it. At this point, I haven't gone far enough to understand how the pedals and levers are set up for the tuning.I see David Wrights steel with pedals all the way across the pedal board and a bunch more levers than he has knees! |
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Larry Bell
From:
Englewood, Florida
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Posted 4 May 2004 7:13 am
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| Quote: |
| At this point, I haven't gone far enough to understand how the pedals and levers are set up for the tuning |
Definitely, do that first. You will never 'get it' on a universal if you don't thoroughly understand how both E9 and C6 work AND how the universal gets the same relative musical changes. It's also very useful to understand how to spell any scale or chord you need to use. Once you know that, you can make your own chord dictionaries or scale exercises. It helps you make sense of all the changes that are used on both tunings.
I've been playing U-12 for 30 years and have never had a problem converting E9 or C6 tab in my head. When I started there was nothing for the U-12 available. Read E9 from the top down and C6 from the bottom up. When you're just learning something from tab, it's not really important what key you're in.
And, no, there is no software that converts but I see little need for it myself. The only string that's missing is the 9th on E9 -- so you gotta figure out whether you want to lower 8 to D or raise 9 to D, but that's pretty obvious. The E9/B6 U-12 tuning is IDENTICAL to C6 1/2 step lower across the bottom 9 strings. On top you have the equivalent of D and G (BOTH), plus a high sixth tone (G#). Hard to beat in my book.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
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Bill Atwood
From:
Kingsland, TX. USA * R.I.P.
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Posted 4 May 2004 7:52 am
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Appreciate you comments Larry. I'm not having problems with Universal in E9. You brought up another question. I'm playing an older Sierra right now and lower #8 E to get the missing D. I have a new MSA on order and decided it would be best to raise #9B to get the D. Which change do you use and why?
Thanks again for your help. |
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Larry Bell
From:
Englewood, Florida
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Posted 4 May 2004 8:30 am
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BOTH (because I CAN) 
There are times to use both. I have 8th string E to D on a knee lever and it is one of the most important changes on my guitar, in both a 6th and 9th tuning context. I can get by with only E to D, but also find times when the B to D is handy. If you need to play a quick whole tone phrase (D E F# G# on 9,8,7,6, for example), B to D is critical.
E to D on a pedal, a la standard C6, is just not convenient enough for me, and when I do play 10-string C6 I prefer P6 on a knee lever. There's more info on my website if you're interested. Click one of the links below.
The big payoff for the universal, in my book, is when you begin integrating the music from one tuning into another. The 9th and 6th tunings are HIGHLY RELATED if you play a universal tuning. This doesn't mean playing corny E9 stuff on a jazz tune. It does mean that you have something a lot of C6 players find lacking -- good solid major triads in a multitude of inversions at a single fret. There are MANY other ways to tastefully incorporate one tuning into the other.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
[This message was edited by Larry Bell on 04 May 2004 at 09:34 AM.] |
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