The Steel Guitar Forum

Hi, I've been playing C6 lap steel for 7 or so years (in addition to E9 pedal). I just picked up a National Dynamic and am looking for suggestions on a second lap steel tuning to get into. I've consider doing an open D or G but I'm curious to what some other traditional tunings that would be good to look into.

Cheers.

JD

E6th! It works for me.

Check out this version of E9th:

E
B
G#
F#
E
D

Jerry Byrd used it to great effect on his Admirable Byrd LP and a lot of Leon McAuliffe's bluesier playing can be heard on this tuning (it's the top 5 strings of his 8-string tuning). It's a very versatile tuning.

Keeping the same string set (assuming you are playing C6 with a high E) you can retune to A6 - having the 5th note on top really makes a difference to how the tunig feels. Also Am6 is cool for songs in a minor key like Rambling Man (High to low - E C A F# E C).

This E7:
High to low-
E
B
G#
E
D
B

Jeff Mead wrote:Keeping the same string set (assuming you are playing C6 with a high E) you can retune to A6 - having the 5th note on top really makes a difference to how the tunig feels. Also Am6 is cool for songs in a minor key like Rambling Man (High to low - E C A F# E C).

Scott Duckworth wrote:This E7:
High to low-
E
B
G#
E
D
B

Which can also be E13 by raising the 2nd string B to C# --and it can retune to A6 also.

I often use A6, C6, E7 and E13 on the same steel as one set of strings can handle all these tunings.


This is a good option.

A6th hi to lo:
E
C#
A
F#
E
C#

If you're into Hawaiian, the original Hawaiian tuning was A, high or low bass.
This is what I use, high bass:
E
C#
A
E
C#
A

B11th! A beautiful tuning that is deserves more play than it seems to get. Great for dominant sounds and you still have A6th on top.

E
C#
A
F#
D#
C# or B

Andy Volk wrote:B11th! A beautiful tuning that is deserves more play than it seems to get. Great for dominant sounds and you still have A6th on top.

E
C#
A
F#
D#
C# or B

and an easy re-tune from A6

David, what about the extra tension on the strings and neck if you tune up to B11 from A6?

What extra tension?
Erv

Actually Mike, the B11 tuning drops the E down to D# from a standard A6 tuning, so the half note isn't a problem with tension for either tuning. I have used the same gauge of strings for C6, A6, E13 and B11 and it's not too bad.

Keith, of course, thanks--I was having a moment of confusion (my usual six-string tuning is dobro GBDGBD so I was thinking AC#EAC#E rather than C#EF#AC#E). It did say A6 but I misfigured.

David, Andy Volk posted here earlier - I have no idea how familiar you are with his lap/non-pedal related books, but I am going to put in a plug for the one below. It's my well worn copy of his Slide Rules book. Thin, inexpensive, but loaded with great information.

Regarding just the 6 string tunings, and we know more than this total exist but you have to stop somewhere - it would be enough to keep one busy for a few lifetimes - there are 42 included in the book. There are also quite a few 8 string as well as a handful of 10 string tunings.

Everyone who plays lap or non-pedal steel would benefit from Slide Rules.








http://www.volkmediabooks.com/products- ... lide-rules

If you are into c. 1930s Hawaiian sounds a la Dick McIntire and Andy Iona, then you might like C#m7

E C# G# E B E (hi to lo)

You can also get to F#9 from there:

E C# G# E A# F# (hi to lo)

Really lush sounding 9th chord strum on the bottom.

Wow I just tried A6 as described here after only using C6 previously (on an 8 string) and it seems far superior. Other than losing a bit of range maybe, what’s the disadvantage? Why is c6 so much more popular?

Mike Harris wrote:David, what about the extra tension on the strings and neck if you tune up to B11 from A6?

Keith Glendinning wrote:Actually Mike, the B11 tuning drops the E down to D# from a standard A6 tuning, so the half note isn't a problem with tension for either tuning. I have used the same gauge of strings for C6, A6, E13 and B11 and it's not too bad.

That's correct. Add E7 to the list too.

Scott Thomas wrote:If you are into c. 1930s Hawaiian sounds a la Dick McIntire and Andy Iona, then you might like C#m7

E C# G# E B E (hi to lo)

You can also get to F#9 from there:

E C# G# E A# F# (hi to lo)

Really lush sounding 9th chord strum on the bottom.

This works with a set of strings that could also tune to A low bass, and open E.

Mark Eaton wrote:David, Andy Volk posted here earlier - I have no idea how familiar you are with his lap/non-pedal related books, but I am going to put in a plug for the one below.

Andy's books are great!

The trouble with adding extra notes to a 6 string tuning is you limit the range.
When I got into the alternative tunings I went to an 8 string guitar.
When I play a 6 string guitar I stick to the straight major tunings.
Erv

David M Brown wrote:
This works with a set of strings that could also tune to A low bass, and open E.

Right David. On an old Sol Hoopii comp on Rounder, the liner notes describe his evolution from an A major, to E to C#minor. Jerry Byrd's big book also teaches tunings in the order of how they evolved. I look at this stuff as part of the history of the instrument.

Scott Thomas wrote:

David M Brown wrote:
This works with a set of strings that could also tune to A low bass, and open E.

Right David. On an old Sol Hoopii comp on Rounder, the liner notes describe his evolution from an A major, to E to C#minor. Jerry Byrd's big book also teaches tunings in the order of how they evolved. I look at this stuff as part of the history of the instrument.

Well, it is part of the history of lap steel.

I found that I keeping 2 steels, one with strings for the A6-C6-E7-E13-B11 family and a set of strings for the A low bass, E, C#m7, F#9 tunings, allows for easy tuning to any of those tunings.