Rich Sullivan
From:
Nelson, NH 03457
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Posted 6 Dec 2011 9:57 am |
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Mitch, Ray, Doug - thanks for the kind words.
Ray - The Rick is long-scale (25"), model 758. I remember seeing photos you posted of your double, and it looked just like mine. Here is a link to a Rickenbacker catalog which shows it.
http://www.rickenbacker.com/catalog_poster_piece.asp?poster_piece=cf57-7.jpg
Here is some info about the tuning I used here, which I had written a while back. (I just re-read this, and it sounds somewhat pedantic, but what-the-hell, here it is anyway.)
This modification to the B11 tuning is a combination tuning (which the B11 tuning is also), and I call it Dmaj9/B9. The strings are tuned the same as B11, except an extra note (D) is inserted in the 2nd string position. It is shown below along with one version of B11 and A6 for reference.
| Tab: |
Dmaj9/B9 B11 A6
E E E
D C# C#
C# A A
A F# F#
F# D# E
D# C# C#
C# A A
A F# F#
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Players of the Leavitt tuning might notice some similarities between this tuning and the Leavitt tuning. If all of the strings in the Dmaj9/B9 tuning were lowered a whole-step (see Cmaj9/A9 below), the top six strings would be the same as the Leavitt tuning, with one exception, the 3rd string being a half-step higher than the Leavitt tuning.
| Tab: |
Dmaj9/B9 Cmaj9/A9 Leavitt
E D D
D C C
C# B Bb
A G G
F# E E
D# C# C#
C# B
A G
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I find this tuning has most of the advantages of the B11 tuning, plus many more voicings. The bottom six strings can be strummed for a B9 chord, as in the B11 tuning. The A6 chord (or F#m7) is still available on the top five strings, if you avoid the second string. The top five strings also yields an inverted Dmaj9, hence the name of the tuning. Strings 1, 3, and 4 yield an A chord, and the same grip dropped one string onto strings 2, 4, and 5 yields a D chord, so the I and the IV chords are both located on the same fret (or the I and V if the chord functions are reversed). Another useful grip is on strings 2, 4, and 6, which yields an F13 or B7#9. (This same chord inversion is also found in the Leavitt tuning and the Jerry Byrd C6/A7 tuning.) The tuning shines in providing a number of dominant chords, plus all inversions of minor chords, a minor 6th, a minor 7th, a diminished, an augmented seventh, several altered chords including a lovely 13b9 chord, a major seventh and major ninth. Weaknesses I have found are that it only has two of the three major chord inversions (although the other inversion is available with a reverse slant), and only one inversion of a full major 6th chord. And this tuning requires accuracy with the right hand, although the bottom six strings do still provide a fat strum chord. With this tuning, I find it less intuitive to play improvised single note melodies than with a 6th tuning, but it really shines on chord melody playing. Another drawback is that you would need to restring the guitar to avoid breaking strings. But if you want to try it down a whole-step as shown above (Cmaj9/A9), guitars tuned to the standard C6 (with 1st string E) or A6 could safely be retuned to this tuning. Playing the 2nd and 3rd strings on the same fret yields the interval of a half-step (minor second). The only common tuning I am aware of that uses this interval is the Alkire 10-string tuning, but the half steps in that tuning are on the bottom. This half-step has an appealing sound (used sparingly) as either the minor 3rd/major 3rd combination on a tonic (I) chord or as the major 6th/minor 7th combination on a subdominant (IV) chord or as the 5th/minor 6th combination on a supertonic chord (ii).
You can play all the way around the circle of fifths with stepwise motion. For example,
| Tab: |
B9 E13 A9 D13 G9 C13 F6
1 --------------------------------------
2 ----------11----------9---------7-----
3 ----12----------10---------8----------
4 ----12----11----10----9----8----7-----
5 ------------------------------------11
6 ----12----11----10----9----8----7---11
7 ------------------------------------11
8 -------------------------------------- |
A seventh chord with the tonic voiced on top is very useful in chord melodies. For example,
| Tab: |
D7
1 ---10---
2 ---10---
3 --------
4 ----9---
5 --------
6 --------
7 --------
8 --------- |
With the top three strings creating intervals of a half-step (third string to second string) and whole-step (second string to first string), scale passages can be played with a somewhat different approach, compared to sixth tunings, as shown below.
In summary, this tuning is like all non-pedal tunings in that it has strengths and weaknesses, but since it is based on a different platform, it presents an interesting alternative to a standard sixth tuning. (All that being said, my fallback tuning is a sixth tuning.)
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Jeff Strouse
From:
Jacksonville, Florida, USA
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Posted 9 Dec 2011 2:07 am
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Wow!
Great information on the tunings! I also really enjoyed the songs, especially 'Christmas Time Is Here'. It's always been a favorite of mine, from growing up watching the Peanuts Christmas special every year.
Thanks, Rich!
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