The Steel Guitar Forum

Might be worth noting that in the last parts of the course, the tab goes to standard musical notation. If you're not a "reader" that's something to be aware of.

I think it's time for me to take this step too. Is there a direct go-to link to order the package in a modern format? (DVD and CD)?

I haven't had a VHS machine or cassette player for nearly 15 years!

Scotty's site is not quite state-of-the-art, but you can definitely get it from him. He accepts PayPal direct, but you'd need to call to use a credit card (I think).

Anyway, here's the page: Jerry Byrd Course

--Jamie

Thanks Jamie. I'm on it!

Can someone explain simply why JB's 7th string was tuned to C# rather than than C?
Thanks.

The C# gives you a dominate 7th on the bottom,AC#EG. There may be other reasons tho.
I just checked The Big Book,he listed the tuning as C6th [added A7th]. ECAGEC#CA [hi2lo].

It could also be C6/Am7.

OK, here's the deal. I just restrung my Magnatone Troubadour 8-string to the standard E7/Am7 tuning (GECAGECA - Hi to Lo). Since I hardly use the low A string, I thought I'd change 8th string to C# since I knew JB used it on his 6th string. After playing with it while, I found that strings 4-6-8 give a diatonic VI chord (A maj on open strings) as well as the dominant 7th combo. I still can't quite get my head around two things:

1) Why was this additional C# in the bass so important to JB that he had to have Shot Jackson make him a custom 7-string guitar to accomodate it?

2) Why didn't JB just use an 8-string guitar and put the "wild" C# string on 8 where I put it? This setup keeps the the C string in place (at 7) and retains all of the standard E7/Am grips. With the C# at 8, it's still accessible for whatever reason the answer to my question 1) provides.

Any takers?

Chris,

Where is the E7 tuning in your setup? E7 has the notes E-G#-B-D.

JB's 7-string neck was tuned to C Diatonic.

E
C
B
A
G
F
E

Some of his most beautiful music was recorded with his C Diatonic.

I play an 8 string pedal steel (instead of 10) because I have a strong confidence in the validity of my 8-string D6/G tuning. It looks, feels and plays correctly, to my way of thinking. I suspect that Jerry felt the same way about his 7-string C Diatonic. It's a complete, coherent tuning system. It doesn't need anything else. As such, it deserves a "correct" instrument made to match it.

Bobby Black played the C Diatonic for a while, on an 8 string with a low C#. I haven't seen him with it lately. Perhaps he abandoned it because, while the C# added some functionality, it made the rest of the tuning harder to understand. Sometimes less really is more. Limitations force us to explore the hidden capabilities of any system. Steel guitar tunings are no exception.

Hmm....what would be the benefit of that C# in there vs. just making the low A in GECAGECA into a Bb, getting the 7th on the C chord rather than the A? That lets you keep the high G....

I need to correct my typo... My guitar is tuned to standard C6/Am7 (not E7/Am7 as I previously posted). I also have a 6-string tuned to E7. Dazed & confused I guess..

Regardless, I read somewhere that JB used C6/Am7 (with that wild C# on the 6th string) on the front neck of his guitar. That dang C# still escapes me.

bOb, I have a question fo you...
Sweet Lei Mokihana medley is one of my most favorite JB tunes. Do you (or anyone else) know if it was played using his "diatonic" setup or C6? What about "Sand"?

I appreciate the feedback and the astoundingly deep well of knowledge on this forum.
Chris

Jerry's C6/A7 is a combination tuning. There is a full A7 chord (4 notes) and a full C6 chord (4 notes). Of course the C# will clash with the C, so the player has to avoid the C# string when playing 6th chord voicings... and the C will clash with the A7 chord, so the player has to avoid that string when playing 7th chord voicings.

Jerry's "diatonic" tunes always catch my attention. The tuning offers sounds that aren't available on most chord based tunings. I'm pretty sure he played diatonic on Come A Little Closer, Honolulu Eyes, Cold Cold Heart, Invitation To Love, Carefree, and a few others.

To hear the diatonic tuning, click on my link below for It Was A Very Good Year.

In answer to your question about Sand, that's usually played on B11 tuning. To hear more B11 click on my link below for How D'ya Do.

I was really impressed with your two MP-3's that you LINKED to the bottom of your post. Very, very nice, to say the least.

What BIAB did you use this time? "SWING EASY" or what? Really tasteful selections.

Thanks, I think I used EasySwing or something like that. You might want to check out my "Valco Swing" posted in the Tablature section, with audio, the same BIAB style ---> Click

Thanks, Doug.

Doug Beaumier wrote:

To hear the diatonic tuning, click on my link below for It Was A Very Good Year.

I did and it's awesome. Once my skills advance some more I will be trying this tuning.

Is Jerry's version of "Adventures In Paradise" done in this diatonic tuning ?

I started out with this one, dated 1954:

I have Jerry's 1960 course book (published by Rickenbacker). It's basically a second edition of the 1954 book. Much of the same material plus additional stuff.



The Big book sold by Scotty's Music is like a third edition and greatly expanded. I think that was done in the 1980s?

b0b wrote:JB's 7-string neck was tuned to C Diatonic.

E
C
B
A
G
F
E

Some of his most beautiful music was recorded with his C Diatonic.

I play an 8 string pedal steel (instead of 10) because I have a strong confidence in the validity of my 8-string D6/G tuning. It looks, feels and plays correctly, to my way of thinking. I suspect that Jerry felt the same way about his 7-string C Diatonic. It's a complete, coherent tuning system. It doesn't need anything else. As such, it deserves a "correct" instrument made to match it.

Bobby Black played the C Diatonic for a while, on an 8 string with a low C#. I haven't seen him with it lately. Perhaps he abandoned it because, while the C# added some functionality, it made the rest of the tuning harder to understand. Sometimes less really is more. Limitations force us to explore the hidden capabilities of any system. Steel guitar tunings are no exception.

In no way, shape or form would I even dream of arguing with Jerry Byrd, but why is the E doubled in this tuning at the expense of including a ninth/second? Seems that a D would be pretty handy. Just curious.

Jerry's instruction book (the "big" course) is the only source for the B11 tuning that I know of. It is for six string steels, but you add a low B (.068-.070) and F# to get the full Jules Ah See tuning (from bottom - B F# B D# F# A C# E). It's basically an A tuning with the lower strings tuned down. I play "Sand", "How'd Ya Do", "Mapuana" and "Paradise Found/Hana" in this tuning. It is also great to play swing on - "Lady be Good", eg.
I use a C6/Bb on the other neck (from bottom - Bb C E G A C E G). Jerry's C6th tuning is embedded in this, with the exception that I use a low Bb, which gives me a nice, fat 13th chord, or a Bb dim chord on the bottom.

Ordered a copy. What is the spelling for the A Major tuning the first part of the book utilizes?

EC#AEC#A,hi2lo.

Thank you.