Paul Redmond
From:
Illinois, USA
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Posted 16 May 2007 11:14 pm |
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I've posted this before, but I'll do it again. Note that the B to D MUST be on the opposite knee from the SS 'drop' unless you can somehow cross your legs in the middle of a lick. On the Whitney's, I've got the B to D on the LKRrear, on the BMI, that change is on the RKLrear. There are advantages to either/both methods. Here's the S-10 version.
Primary tuning front to back=F#,D,G#,E,B,G#,F#,E,B,G#
LKL G#toF# on 6 only(accurate split to G w/FP3)
LKV BtoA# on 5 and 9(splits the C# raises back
to an accurate C only)
LKRF EtoF# on 4
LKRR DtoC# on 2, F#toE on7
FP1 G#toG on 3,6,10
FP2 BtoC# on 5 and 9
FP3 G#toA on 3,6,10
FP4 EtoF# on 4,BtoC# on 5
RKLF EtoF on 4 and 8
RKLR BtoD on 9
RKR EtoD# on 4 and 8
I don't know how to post this any other way, so hope maybe someone else can.
It took a long time to work this tuning out to its fullest potential, but if you study it a while, y'all will find the method to my madness. While playing 'pedals-down', all the 'sixth' changes can be found using familiar E9th grips and changes on both the FP's and KL's including the now-sacrosanct 'Night Life Intro'. All the 'major' stuff can be found when the LKRR KL is held. . .it can be strummed like an autoharp!! You use the 'splits' and the B to D pull to get 'guitar chords', plus bar position. So-called 'power chords' are thumb-raked all the way up to the 2nd string. Try it, you'll like it!!
PRR |
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