The Steel Guitar Forum

I posted this in the Don Helms thread, but thought I'd put it here too as it may not be as visible buried in that previous thread.

I just bought the DON HELMS STEEL GUITAR SONGBOOK and was about to re-string one of the necks on my StringMaster to his tuning when I had an epiphany (you guys probably already realize this I'm sure, but it was a light bulb moment for me).

Since Don rarely used the 7th and 8th strings, I can play all Don's stuff on my C6 neck (Low to hi A C E G A C E G) by moving the tab up 4 frets and down one string.

For example, the intro to YOUR CHEATIN' HEART

Don's tuning

G# --16--16--16--15------12---13---------------
E ------------------15------12---13---7--8-------
C# --16--16--16---------------------------------
B --------------------------------------7--8-------
G# ------------------------------------7--8-------
E ------------------------------------------------
C# -----------------------------------------------
A ------------------------------------------------

C6 Tuning

G ---------------------------------------------
E --20--20--20--19--------16---17---------------
C ----------------19--------16---17---11--12-------
A --20--20--20---------------------------------
G --------------------------------------11--12-------
E --------------------------------------11--12-------
C ------------------------------------------------
A -----------------------------------------------

It does work, as you found. But, it's noticeably harder to play in that range, and my guitar's tone is not as sweet in that position, either. When I get around to that book again, I'll use the book's tuning for sure.

That's exactly what I do but, for the reasons Greg points out, it's far from ideal.

Great post! After learning a bunch of Hank stuff by ear in C6 I saw this post and decided to try out E6. I only had to change the higher A string to a thinner gauge (18w) but all the other C6 strings in ACEGACEG were able to tune up to A C# E G# (B) C# E G#. So going back to C6 isn't too bad if I decide to.

I have a ways to go but things do fall into a better position to play more accurately in tune. One example is Honky Tonk Blues which was way too high up on the neck in C6 tuning for me to play consistently. Anyway all good info so thanks.

Umm... whoa! I did not know this. I also own the Don Helms book and I had re-tuned my 2nd chair guitar to learn and play these songs but having the option to play these tunes without having to switch out guitars is a big plus!

Yeah I could see it being a little unwieldy trying to squeeze some of these lines in around frets 26 (heh) or so but even still, this basically re-opens up this entire book for me, with some octave substitutes and some experimentation.

Awesome tip, Thanks very much for sharing!

David,
I an a big fan of Don Helms and early in my steel playing days I bought the book and learned all the HW songs in E6 tuning. I also learned a bunch of Western Swing songs from Herb Remington, It wasn't too long after, that I discovered what you have done. I could play all those HW songs on A6 by pretty much skipping the first string. Of course the songs had to be in different keys unless I transposed up the neck 7 frets. So I just played them in the keys of C, D and G which was more comfortable for the A6 tuning. I never did care for the high shrill sound coming from the thin G# string on the Helms tuning. The A6 was just fine for me.
Have fun with it. It sure has brought a lot of fun and pleasure to me

The first two steels I got were Morrell 8 stringers which I tuned to E13 and C6. I'd use the E13th when trying to play along to Hank Williams tunes but one day picked up the C6 by mistake and didn't notice it for about a half hour. "What the heck is going on???"

Steve Ahola

I agree about most of the stuff applicable to C6, and in fact that's where I play the HW tunes usually. But the timbre of the heavier strings on C6 just doesn't have the tone of the E tuning.

And, of course, an Emmons does not have the same EQ as a Gibson.

Greg Moynihan wrote:It does work, as you found. But, it's noticeably harder to play in that range, and my guitar's tone is not as sweet in that position, either. When I get around to that book again, I'll use the book's tuning for sure.

I've had some luck moving those riffs down the neck an octave lower in the C6 tuning.

Yes, I do the same thing on A6 for the Helms style stuff.

I play in E6, and went the "other" way when I was working through Cindy Cashdollar's instructional DVDs.

There I basically played what she was, but 2 whole steps lower on my neck.

As others have mentioned there are differences in tone and some passages get difficult to play, but for the most part you can translate (transpose) between the two fairly easily.

The hardest part is missing the higher V string (D) on the C6 tuning that is missing in E. I can't imagine how harsh a high B would be to listen to. So when she plays on her highest string you might need to get a bit clever.

(Although, for you David, you're already in C6 so it doesn't really matter for you! )