The Steel Guitar Forum

I know there has been a lot written about playing B6th on a steel tuned to E9th but I'm looking for any tips by forum members with experience playing E9th on C6th.

The reasons for my question are the lightest steel I own is tuned to C6th and I enjoy also playing straight C6th. However, I have been playing tunes with our band in E9th and would like to keep as much of that sound as possible.

I am aware of how to find majors, minors 6ths and 9ths etc on C6th but would like some additional information to keep me on track so I don't morph into the C6th sound.

Many thanks, steve t

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Quote by Paul Franklin from a previous topic in reference to his Ped-A-Bro setup.
Could be a good place to start.


"The first three pedals on the C6th pedabro

1) raises G to A

2) Raises both E's to F

3) raises G and C a whole tone

There is a lever that raises both C's to C#

The rest is my C6th set up

These additional changes gave me a universal C6th tuning...It has the basic E9th stuff plus all of the C6th

Paul"

b0b's eight string D6 tuning is set up to cover E9-type stuff. Perhaps he will chime in here.

http://b0b.com/tunings/blee.htm#DesertRose

I don't remember where to find it, but Gary Gimble had a video of a full country shuffle played on the back neck

Together Again solo C6

http://steelguitarforum.com/Forum8/HTML/001052.html

Try pedals 6 and 7 on strings 3 and 4. You can play an E9 type harmonized scale that way.

Here's the Gary Gimble I was thinking of.
https://m.youtube.com/watch?feature=you ... JhmnHLe46A

Bob, couldn't you eliminate the slants, if someone didn't raise 3, by going up a fret and dropping 6?

Lane, Look again.

you could get that interval move on strings 2 and 5 with the 5th pedal though.

Wait. What am I missing? At the nut, raised 3 and 6 is C# and E. At the 1st fret, 3 and 6 with P6 is, ummm, C# and E.
Mike A. made darn sure I knew those slants, I don't mind them at all.

at the nut
pedal 6 lowered is Eb
LR (raise 3rd st 1/2 step) is Db

Lane Gray wrote:Here's the Gary Gimble I was thinking of.
https://m.youtube.com/watch?feature=you ... JhmnHLe46A

I think he tricked us and swapped necks, maybe camera magic, just kidding. That is totally awesome and several years back I found this and was trying it and I haven't even found the first 4 notes. These aren't standard C6th pulls I don't believe.

Rudy Osborne from Benton Arkansas can play a lot of E9th stuff on C6th but he does have some special pulls.

In the comments section he shares his pulls. He drops 5 to F with his LKL, the rest are pretty normal

Bob Hoffnar wrote:at the nut
pedal 6 lowered is Eb
LR (raise 3rd st 1/2 step) is Db

Yes, but my point was:
From Eb-C (string 6,P6 to string 3 unchanged) is a Maj 6th;
From E-C# (string 6 to raised 3) is the same Maj 6th. Which I realized missed that, in a couple places, you're lowering 6 and raising 3. Oops.
To get that minor 7th, if you don't want to slant, wouldn't P7 on string 3 work (6th string E at the nut, 3rd string P7 D)

I'm pretty new at C6th playing, and I started with a D note on top. Recently changed to a G and noticed you can raise string 4 with P4 or P7 from A-B and hit that high G to get that classic bend we're all familiar with.

Steve,,,hope you had a safe trip back,,and continue to improve healthwise!!

Reece's Bb6 approached the 9th tuning from the 6th side,,,and is used VERY tastefully by David Wright and Junior Knight. Also Zane Beck,,and now Zane King use a combined 6th and 9th tuning. Tons of good (and very successful) ideas.

So, did you take the Lamar back with you?

If you tune your 1st string to D, it serves the same function as the first string on E9th.

P6 is like the E9th B pedal on the 2nd string, and P7 is like the E9th C pedal on the 3rd string. Combine them, and you have a bunch of B+C licks at your disposal.

Also, your C>C# lever is like the E9th's F lever on the 3rd string, and P8 is like the F lever on the 7th string. If you're used to the A+F position on E9th, keep in mind that the A pedal note is there on 4th string already - no pedal needed to get it. All of those "3 frets up" A+F positions are a given with the C>C# lever.

Your C>B lever is like the E9th's E lower on the 3rd string. I use a bar slant to get that position on the 7th string.

I don't have the C6th P4 changes, but I've heard people use P4 to get E9th A pedal sounds something like this (X is a double raise):
[tab]on a D chord
D______________7_________________________
E________________________________________
C_________________7______________________
A_______7--7X________7X--7_______________
G____7______________________7____________
E________________________________________
C________________________________________
...
[/tab]

P5 lowers the 5th string. Rocking between P5 and P4 can sound sort of like stomping A+B on E9th. (the b is the P5 lower)
[tab]
G C G
D____5____5____5_________________________
E________________________________________
C________________________________________
A____5----5X---5_________________________
G____5b---5----5b________________________
E________________________________________
C________________________________________
...
[/tab]

Raising your E's to F, raising your A's to Bb, and using pedal 4 like Bob shows so clearly gives you a lot of F9, plus standard P5 (lowers G to F#, raises low F to F#)... E9 galore. A lot of what Bb6 UNI does is right there, although there's even more available in Bb6. You can even leave your slants at home, if you wish

Guys,
I can't thank you enough for the information you've offered and am just dipping into it all now. Keep those thoughts coming, please.

Sonny, I did not take the Lamar back with me choosing instead to take what used to be your black U-12 Excel that is now tuned to C6th. The Excel being light is the way for me to go with our band. I want to do a lot of C6thon my own but the band, has more of an E9th sound. Ergo, my question in this post.

Additionally, that Lamar was too beautiful to risk taking on an international flight.

Again, thanks to all of you who have been so helpful. stevet

Hey Steve,,,I think the finish that Lamar got on that guitar MIGHT be a good option for this Kline cabinet. I'm trying to think of what Lamar told me he stained it with,,,something common in household,,,coffee,,or tea???? comes to mind.

Christopher Woitach wrote:Raising your E's to F, raising your A's to Bb, and using pedal 4 like Bob shows so clearly gives you a lot of F9, plus standard P5 (lowers G to F#, raises low F to F#)... E9 galore. A lot of what Bb6 UNI does is right there, although there's even more available in Bb6. You can even leave your slants at home, if you wish

Bobby Black and I were talking (along time ago) about getting some E9 sounds on C6. We discussed those changes, and I decided to use the A to Bb change, the 6th pedal raising string 2 to F, and a lever to raise 3 to D. I really got good at getting the A & B pedal sounds. In the early 80's, I used to do a local TV show, and played short versions of Bud's Bounce for the opening and closing songs for the show.

Years I watched Bobby Black break the high B string on the E9 neck....flip the pickup to the C6 neck and finished the song and you couldn't tell if you weren't watching. It was a Bakersfield type AB pedal tune, can't remember the tune. I think he used pedals 5 & 6 a lot.......

Buddy's "Basic C6" book.. Jim Palenscar has them.

Thanks, Carl,
I just saw your post. I do have that Buddy Emmons BASIC C6 and it is fantastic.
I think you are talking about how he compares the E9 and C6 necks to show the interval similarities. That is a wonderful book.

Guys, I want to thank all of you for your responses. Seems I will have to make some copedant changes to get the E9 sound on C 6. Stevet