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Topic: E Maj vs. C#m7 |
Rick Aiello
From:
Berryville, VA USA
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Mike Neer
From:
NJ
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Posted 23 Mar 2005 7:13 am |
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Cool, man. These are my favorite 2 tunings. I don't think I could just get away with using one. The good part is, you're just a few cranks of a tuning peg apart. Considering the fact that I play a lot of rhythm guitar type figures on the steel, I need this configuration on strings 4-5-6; however, I'd like to add another tuning to the picture, one which I use a lot--E7: E B G# E D E. Chock full o'goodies, too.
Good going, Rick. Once everyone catches on to these tunings, I'm out of work.... 
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www.mikeneer.com |
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Erv Niehaus
From:
Litchfield, MN, USA
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Posted 23 Mar 2005 7:33 am
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I like the C#m7 tuning but it really works out better on an 8 string neck. I like to put a B (3rd string) between the C# and the G#. That really opens up the tuning for you.
Erv |
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Gerald Ross
From:
Ann Arbor, Michigan, USA
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Mike Neer
From:
NJ
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Posted 23 Mar 2005 7:40 am
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Oh, I forgot to answer your question:
What are your thoughts on the advantages/disadvantages associated with these two tunin's
I think that right off the bat, it's easier for someone with guitar playing experience to visualize the fretboard in E and C#m.
Second, I like to play in a more vertical fashion, rather than across the strings, not just because I think it sounds cooler (especially on an acoustic), but also because you're less likely to be locked into patterns and shapes. Also, the plain strings really have the volume and cutting power (for me).
Third, I like having perfect 4th and 5th intervals available.
Fourth, I have found no shortage of chords within these tunings, especially chords of the dominant family.
I took guitar lessons with a famous jazz guitarist who taught me to view the guitar in a more vertical fashion. I would improvise often on 1 string as an exercise. I think it improves lyricism and melodic development.
I really think the beauty of steel guitar is in bar movement. I was always puzzled when I watched pedal steel players stay in a stationery position. It reminded me of watching my grandmother working on a sewing machine. [This message was edited by Mike Neer on 23 March 2005 at 07:44 AM.] |
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Rick Aiello
From:
Berryville, VA USA
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Posted 23 Mar 2005 7:42 am
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quote:
These are my favorite 2 tunings.
I know ... thats why I picked these two to start. 
I saw you tell Gerald that the book was on "hold" ... so I thought I could "pick" your brain (pun intended).
Bruce Clarke's excellent essay ... Name That Tuning ...
And the fact that just about every steeler that I listen to these days seems to play C#m7 (according to Mr. Clarke's ear) ... made me wanna start here.
Thanks for the input on the bottom end ... thats what 'I'm after" ... why folks prefer certain tunings for what they do. 
| Quote: |
| Once everyone catches on to these tunings, I'm out of work |
That I doubt ... |
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Mike Neer
From:
NJ
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Posted 23 Mar 2005 8:01 am
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I've heard Andy Iona use other variations of the E tuning that Bruce doesn't mention in his article, but it is a good article, indeed.
One of the variations is this--E B G# B G# E, which he used on Maui Moon, et al. |
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Rick Aiello
From:
Berryville, VA USA
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Posted 23 Mar 2005 8:15 am
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| Quote: |
| I like to play in a more vertical fashion, rather than across the strings |
Me too ...
I'll go as far as sayin' that, personally, I view strings 3-6 as harmony strings only ... keeping the melody on just the top 2 stings ...
Maybe the third sting once in a "Blue Moon" and the very "rare" bass note solo.
Not being much of a rhythm player (understatement of the year) ... I am quite interested in y'alls views of the bottom strings ... thanks.
I'll write up 1:1 comparisons for some more variations of E Maj ... once these two are "exhausted" ...
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Aiello's House of Gauss
My wife and I don't think alike. She donates money to the homeless and I donate money to the topless! ... R. Dangerfield
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Stephan Miller
From:
Silver Spring, Maryland, USA
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Posted 23 Mar 2005 9:22 am
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Rick, that's some very useful info-- I'm going to be trying out a 7-string F#9 tuning, which has the same top 4 strings as that E6.
Mike-- I like that vertical approach too, more unity of string tone and a real feeling of freedom in melody lines. For whatever reason, this approach comes naturally to me and was the only thing that saved me in the early days of band practice a few months back, when I volunteered my "services" on steel without even having settled on a tuning.
Am using at least the top 5 strings of an 8-string tuning for melody, and am practising scales in either direction starting from any string/any fret, so that I can hop off my single-string rides anywhere and know where I am... also to develop different ways of playing the same phrase.
Still don't slant a whole lot, and this kind of thread makes it easier to try stuff out... |
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Rick Aiello
From:
Berryville, VA USA
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Posted 23 Mar 2005 9:31 am
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Steve ... you're a mind reader ...
I'm just sittin' here typing up C#m7 vs F#9 ...
Figured I'd do up the ones folks talk about the most here on the forum.
I'm only doin' 6 string comparisons ... extending them beyond that can be "homework"  |
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