Which tuning is best for regular lap steel?

Terje Larson · From: Rinkeby, Spånga, Sweden

I'm thinking of taking up lap steel again, as a "side dish" to the main menu of electric slide balalajka. I'm just wondering which tuning to use. I have this book called "Basic C6 Nonpedal Lap Steel Method" by DeWitt Scott and another one called "The Dobro Book" by Stacy Philips, using mainly G tuning.

I'm more into Western Swing than regular country since otherwise I do play more blues and jazz than anything else. Is C6 the way to go for me? That's what I think now.

There are other tunings too. Sol Hoopi used some sort of B minor tuning. Is that any good? Are there any books dealing with this tuning?

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If you can't hear the others you're too loud, if you can't hear yourself you've gone deaf

Paul Arntson · From: Washington, USA

I would suggest stringing up on a 22.5" 6 string with :
0.015 / 0.018 / 0.022plain / 0.026 w / 0.034 / 0.036

This way you can switch between A6, C6, E7 and C#mi without changing strings. (Thanks to Rick Alexander for giving me this idea.)

[This message was edited by Paul Arntson on 24 May 2005 at 08:08 PM.]

David L. Donald · From: Koh Samui Island, Thailand

I believe Sol used a C#m tuning in the end, but not just that earlier.
it is interesting I wrote, recorded & posted something last winter in that tuning. 1st time I had tried it in 30 years. Cool tuning, but more hawaiian and jazz that W.S.

This should let you hear it's logic.
http://worldserver4.oleane.com/canardplus/Musique/HoopiiDoopii.mp3

C6 and E13 would be the best choices for western swing in all likleyhood.

You have the C6 book, and that points to a great place to start.

I've seen Scotty play C6 fryingpan, and it sure sounds right.

[This message was edited by David L. Donald on 20 May 2005 at 11:30 PM.]

Terje Larson · From: Rinkeby, Spånga, Sweden

I think I'll go with C6 (once I get the guitar... ) cause it makes sense I as you point out David, I have the book.

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If you can't hear the others you're too loud, if you can't hear yourself you've gone deaf

Tony Harris · From: England

I went through this decision a couple of years ago, and found the C6th tuning just about the best for everything - country, jazz and hawaiian, and it's instant western swing! The only change I've made since then is to raise the bottom string from C to C# (C6/A7 tuning). It gives a diminished chord on the bottom 3 strings for jazz tunes, a bigger seventh chord on the bottom 4, and another major shape in a different position. The Lap Steel Book gives everybody's tunings, and a lot of my heroes use this or something similar. Have fun!

George Manno · From: chicago

C6 or E7 as suggested.
What you really need to do is practice alot. Scales and slants for at least 30% of your total playing time EVERY DAY!!!!

HowardR · From: N.Y.C.-Fire Island-Asheville

David L. Donald · From: Koh Samui Island, Thailand

Dang'd if they ain't gonna catch you someday Howard!

Terje Larson · From: Rinkeby, Spånga, Sweden

C6 tuning with a C# in the bass that would be... C# E G A C E, right? Diminished chord on the bottom three string, I see that. And a dominant 7th chord with the 3rd in the bass on the bottom four... OK, not bad. No simple major triad with the root in the bootom though. That's the way it is with tunings, you soklve one problem and get another one.

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If you can't hear the others you're too loud, if you can't hear yourself you've gone deaf

[This message was edited by Terje Larson on 21 May 2005 at 08:10 AM.]

Billy Gilbert · From: Texas, USA

Add another string or two. Billy

Charlie McDonald · From: out of the blue

I'm always experimenting (and sometimes trying to find the original tuning I used years ago!). Brad's Pages of Steel has many tunings to play with.

When I tried C6, it was instant swing! for a beginner. Lots of fun.

Now, I am using (hi to lo) B G# E C# A E, based on alternating minor and major thirds.
Everything has its limits. Play around.

Bill Creller · From: Saginaw, Michigan, USA (deceased)

George is absolutly right. There is no substitute or short cuts for just a lot of practice. It will be surprising how much progress you will make with practicing every day, and every chance in between times.

George Manno · From: chicago

I'm up every morning around 5:15. I take time to thank Jesus, workout for 45 minutes to a hour, breakfast, wife to the comuter station, back home to play 40 minutes of scales before I pick out any tunes to work on. I also play mandolin and ukulele. I practice everyday but Easter and Christmas.
Too many players think they can just mail in a performance and you can tell by the way it sounds.
Hard work and plenty of it, is what makes music fun.
George

Tony Harris · From: England

Terje, If you'd rather have that big major chord with the root at the bottom, just leave the bottom string as a C. Especially if you're playing music that has simple major chords and you don't need those low diminisheds. Some players adjust that bottom string back and forth depending on the tune...

Denny Turner · From: Oahu, Hawaii USA

I spoke with Jerry Byrd about Steel tunings, and in particular his (C)6th tuning invention / work. He said he never made any connections with modal congruency in the 6th tuning (saying that was jazz stuff he wasn't too much into other than being able to play just about anything by hearing the chords context). Jerry said that the different tunings came about in attempts to achieve certain voicings and more although still limited selection of scale and chord voicings different tunings offered in "pockets" ("my" term here) around the neck; Although the different voicings were indeed being used in a limited modal context that wasn't known to Jerry or anyone he could remember.

The break-through came when Jerry's C6 tuning offered so much in terms of complete scales and broad voicings in the most common scales and their chords (mostly based upon the "church" modes harmony and math). Of course this WAS the modal context but again unknown to Pickers at that time (as far as Jerry knew and as far as I can determine). Nick Masters also told me that he had never made the modal connections and he understood and used modes to a limited extent.

I would like to make the point that although certain tunings do offer certain distinct voices in the tuning and other voicings in pockets "scattered" on the neck (often well suited to certain songs, modes and styles of music), the 6th tuning (and diatonic tuning) are the only ones I can find that offer complete scales of all 7 "church" modes ... and fairly reprentative signature chords of all 7 modes ...all arranged on single frets along with their extensions' & partials' harmony, ...in quite simple 2-fret boxes arranged congruent and intuitive along the Steel neck.

I highly suggest that a person master the 6th tuning first, and then can go experimet with and choose other tunings for what they might offer voicing. Using my methods a person can learn in rather short order how to figure out what is going on in the inversion relationships and fret positions of all tunings and why some will work for some purposes and not for other purposes.

I just posted a new SGF topic with links to some upgrade additions I made in my neck navigation work on the 6th tuned Steel.

Aloha,
DT~

[This message was edited by Denny Turner on 23 May 2005 at 08:12 PM.]

Bobby Lee · From: Cloverdale, California, USA



   A   E   C6  E7


1  E   E   E   E


2  C#  B   C   B


3  A   G#  A   G#


4  E   E   G   E


5  C#  B   E   D


6  A   E   C   B

These are what I see as the most common tunings for 6 string lap steel. The A and E tunings are prefered by rock and blues players. The C6 and E7 are preferred by country, swing and Hawaiian players.

I think that C6th is the best choice for Western Swing. Learn to retune the low C to C# on certain tunes as required.

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Williams D-12 E9, C6add9, Sierra Olympic S-12 (F Diatonic)
Sierra Laptop S-8 (E6add9), Fender Stringmaster D-8 (E13, C6 or A6)

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