Jack Byrd
From:
Kalamazoo, Michigan
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Posted 29 Jan 2002 6:11 pm |
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There have been several subjects concerning C6th on the forum recently as to who invented it and why C6th and so on as well as others in the past. I have sent these to Jerry over the course of time for his enjoyment in reading them and for his comments. I have in the past posted his response for all to read. It seems some don’t read them, some don’t search on the subject to see what has been posted in the past before asking a question that has already been answered and some postings have been deleted or lost for some reason or other. I have just received from Jerry his latest attempt to answer these questions and comments concerning his C6th tuning. I will attempt to paraphrase his statements in a concise manner. He has informed me that this subject is covered fully in his soon to be published autobiography that he has written. So those of you who are REALLY interested in the truth and who want something from the inventor of the tuning you will soon be able to purchases his book. It is expected to be released before long. The following are Jerry’s comments paraphrased by me.
I have in my possession a home made recording done at a music studio in Lima, Ohio of me playing Lovely Hula Hands in the C6th tuning. The date on the recording is February 19, 1939. I had been developing this tuning for sometime before this date, back in early 1938 as a 17 year old. I called it C6th because it was the C chord with a 6th note in it. I didn’t know all the musical terms then but that made sense to me to name it that. No one was playing anything like it or near it back then. Shortly thereafter I added the A7 to it. I have other validated proofs of my work on this tuning in that timeframe but I am not going into that here. If ANYONE can prove that any other player was playing this tuning at the these times I sure would like to see the dated proof document and would like also to hear it. I don’t think it exists, but if it does I sure would be the first to say so be it.
Believe me I have tried everything known to man experimenting with this and that. What gauge strings---some weren’t right so I’d take a wrapped string and pull all the wrapping off which takes about half a day by hand, trying to get the right gauge and sound. ALL THE TUNINGS ARE GOOD FOR CERTAIN THINGS—I use all of them, in fact in my last CD “By Request” I used 8 tunings. (I posted all these tunings and the instrument Jerry used on the songs previously on the forum. If someone wants them e-mail me and I will send them to you---Jack Byrd).
I am not a slave to the C6th tuning like some may think. I use the tuning that fits the song I am playing, regardless of what it is. I’m not strictly C6th tuning, if I want to improvise I use C6th because there is more improvisational opportunities in C6th than the other tunings because of the intervals between the strings music wise. If you are a playing steel guitarist you ought to be able to figure that out. My advise is just TUNE UP and PLAY it. That’s all!!
I know what works and what doesn’t work---it’s a summation of over 60 years of playing, nothing ever was done in two weeks, everything I did was from hunt and peck, trial and error method just like any other invention. Thomas Edison didn’t make the light bulb in two weeks, it evolved from years of tests and that is the same way with me- what works and don’t have taken many years to find out, so that ends that!
I would like to impress on everyone if you can play it doesn’t make any difference what tuning your are in. If you can’t play it doesn’t make any difference what tuning you are in either. Same with make or brand of guitars, if you can play, any guitar is going to sound good, if you can’t play it’s not going to sound good. So that’s it!!
Some tips from the Jerry Byrd Bishop Museum Workshop presented in the Spring of 1998 for steel players and wannabes that apply here were:
Use your steel guitar as an art form to convey feelings through playing. Forget what kind of steel, what kind of bar or picks---PLAY MUSIC!
The word talent is greatly overused. Without desire, talent is NOTHING.
You’ll never ever finish LEARNING steel guitar. It’s a solo instrument. Be an individual. Don’t let somebody else tell you what you should do. PLAY YOUR PERSONALITY.
Get the listener involved in what you’re doing. Lead them into the music. Make them anticipate your next note.
Steel guitar is a LAID BACK instrument.
This can also be added from him. If you only aspire to reach a level of competence on the steel that emulates someone else’s style or sound and you think you have reached that level in your playing and you stop learning and improving you are short changing yourself. First you NEVER are going to reach that person’s sound or style because it is impossible, it can’t be done. In your mind you may think you are there but the listener will know you are not. Once you reach that level in your mind you become satisfied at the level you have reached and quit learning or trying to do more with the instrument and this seriously limits your capabilities. The instrument has tremendous capabilities, take it there in your playing. Don’t ever be satisfied and you will always be learning new things and therefore improving your playing abilities.
[This message was edited by Jack Byrd on 23 February 2002 at 11:42 AM.] |
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Rick Collins
From:
Claremont , CA USA
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Posted 30 Jan 2002 8:50 am
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"An amazing man, indeed." Just think, the time I spend just learning the C6th tuning, and to think, he was the innovator and pioneer of it.
I'm standing on the shoulders of this giant and I still can't see as far as he did.
Rick |
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