Posted: 28 Apr 2005 6:22 pm
Dave D. said it all, but it seems to be very difficult for many players to realize that the U12, IMHO, is not necessarily a means to "combine" the E9 and C6 necks. Maybe the original concept had it's roots in the simple combining of the two, but I think there's much more under the surface than what meets the eye.
I believe the U12 is actually a very different animal altogether. As difficult as a universal tuning is to master, it really takes the PSG to a potentialy new level of expression where E9 and C6 chord structures seamlessly blend. In this world, there's no need to "decide" to play one style or another, but rather to play what comes out of ones musical heart without the hinderance of deciding which neck or style is better.
This requires one to NOT think in terms of E9 OR C6, but rather, one vast expanse of possibilities. For example...don't think of the E to Eb knee lever as the pathway between E9 and C6.
I find that this expanse of chordal structures and tonal colorations are far more interesting on a U12. Now, that's not to say that E9 or C6 can't be beautiful and exciting. We all know they can. I AM saying that the universal tuning produces a musical stew that I find so attractive that I can't resist it, and cannot find anywhere else. Is it, then, non-traditional? Probably, yes. But how many new, enlightening concepts began as unpopular attempts at breaking out of the box?
IMHO, the U12 becomes very difficult to master only when one tries to approach it as two separate tunings combined. That only produces confusion and uncertainty, and masks the incredible capabilities of the tuning.
Just my view from the cheap seats...
------------------
Every day is a Great day,
Mike
(aka Sideman)
I believe the U12 is actually a very different animal altogether. As difficult as a universal tuning is to master, it really takes the PSG to a potentialy new level of expression where E9 and C6 chord structures seamlessly blend. In this world, there's no need to "decide" to play one style or another, but rather to play what comes out of ones musical heart without the hinderance of deciding which neck or style is better.
This requires one to NOT think in terms of E9 OR C6, but rather, one vast expanse of possibilities. For example...don't think of the E to Eb knee lever as the pathway between E9 and C6.
I find that this expanse of chordal structures and tonal colorations are far more interesting on a U12. Now, that's not to say that E9 or C6 can't be beautiful and exciting. We all know they can. I AM saying that the universal tuning produces a musical stew that I find so attractive that I can't resist it, and cannot find anywhere else. Is it, then, non-traditional? Probably, yes. But how many new, enlightening concepts began as unpopular attempts at breaking out of the box?
IMHO, the U12 becomes very difficult to master only when one tries to approach it as two separate tunings combined. That only produces confusion and uncertainty, and masks the incredible capabilities of the tuning.
Just my view from the cheap seats...
------------------
Every day is a Great day,
Mike
(aka Sideman)