The Steel Guitar Forum

I'm at my wits end on this (what little there is). I've got Leon McAuliffe's E13 on one neck of my Stringmaster, and I'm damned if I can figure out the logic of it. I'm reaasonably familiar with 8-string C6 and Dobro open G, but E13? Where are my pentatonic scales? How do I find my minors and sevenths?

If there are notes, or instructional materials, or SOMETHING on this. I listen to Leon's recordings and HEAR it work, but ??? There must be some standard grips around... I think I'm starting to drool....

-eric

As an additional note, I can make more sense out of it if I drop the 5th string from F# to E. Then I've got a pretty standard E6 (E,G#,B,C#,E) on the top 5 strings, and the 2,5, and 1 below. It's that lack of the root in the middle that's perhaps the most baffling.

Give this E13/9 a try ... but you will have trouble tunin' it JI:

(Lo to Hi)

B D E F# G# B C# E

lays out like this:

<font face="monospace" size="3"><pre>

5 7b 1 2 3 5 6 1
7 3b 4 7b
6 1 2 3 6 7 2
7b 3b 4 5 7b 1 3b
7 2 3 7 3
1 3b 4 5 6 1 2 4
3 7b 3b
2 4 5 6 7 2 3 5
3b 7b 1 3b 4
3 5 6 7 3 6
4 7b 1 2 4 5 7b
6 7 3b 7
5 7b 1 2 3 5 6 1
</pre></font>

Your pentatonics : 1,2,3,5,6 (country style)
1,3b,4,5,7b (blues)

Standard Harmonized Key

<font face="monospace" size="3"><pre>
EX: Key of C
I 135 C
I7 1357b C7
IIm 246 Dm
IIIm 357 Em
IV 461 F
V 572 G
V7 5724 G7
VIm 613 Am
VIIdim 724 Bo
</pre></font>

I don't think it was exactly what you asked for ... but it might fit the "bill". I have always been intrigued by it ... Just couldn't get past that JI problem with the 2,5,6 issue.

Hope this helps. Get that bar "a-slantin"


<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Rick Aiello on 09 June 2002 at 02:58 PM.]</p></FONT>

Rick,
Thanks for the reply. I like your format for writing out the neck. It lets one see all the notes relative to the root (E) rather than just writing the notes under the location. Makes it mentally straightforward to just move the grid around for other notes.
Thanks!

Glad it helped ... When I used to mess around with it ... I would tune it JI ... tune the 2nd and 6th in agreement with the tonic E's overtone series ... and just avoid hittin' them together ...

I gave up on it though... years ago ... went with Jerry Byrds E9 for a complimentary tuning to C6/A7:

(Lo to Hi)

G# B D E F# G# B E

No JI issue ... can use the exact string guages that I use for C6/A7 ... and some of the prettiest JB stuff (in my opinion) is written in it:

I'll be All Smiles Tonight, Kawohikukapulani, Suprise Waltz, Mama E and Kauai Beauty are the ones I'm usin' it for these days.

I believe he did an entire album (or a good chunk of it anyway) usin' it ... "Admirable Byrd" ... But I'm not sure ... maybe someone out there will confirm ???

<font size=1>
Plus... I do sit in with a couple local blues/rock bands ... and havin' that 3,5,1 on top lets me play that overdriven slide guitar stuff they like ... but don't tell anyone
</font>

<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Rick Aiello on 10 June 2002 at 02:07 PM.]</p></FONT>

You're absolutely correct, Rick! JB did record "Admirable Byrd" in the E9th tuning. The songs on the album are:

Theme For A DJ
I Wanna' Learn To Play The Steel
Surprise Waltz
Someday You'll Call My Name
Reminiscing
Blues Guaranteed
Someone Else, Not Me
Faded Love
Kissy Ling
I'll Be All Smiles Tonight
Steelin' The Chimes
Chime In

http://www.panworld.net/~johnely/

John Ely has some tab in Leon's version of the E13 tuning, but his arrangements aren't currently available (bummer)

I just got news from the HSGA office, that he will be performing in Joliet this year at the HSGA convention! He's a fantastic player!

Jeff, I thought I read that somewhere ... thanks.

I've seen a few performances where he takes a break from "Standing" at his double neck ... and sits down with a frypan. The songs he did during these "Downtimes" always seemed to be either E9 or E13 tunes.

That 3,5,1 grouping on top of the E9 makes up the backbone of some of the coolest examples of "Reverse Slanting" out there. The following V7 to I is the "surprise" in "Surprise Waltz"
<font face="monospace" size="3"><pre>
7 1
5 5
4 3
</pre></font>
His "climb" up the fretboard with these repeated resolving reverse slants combined with triplet glisses really puts your technique to the test. No amount of wristin', fudgin' or cheatin' is going to help you here ... a true test of your ability ... a test which I more often than not ... fail

I don't even want to mention the reverse slant that resolves into a forward slant

Sorry to stray "off course" ... at least its about an E tuning.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Rick Aiello on 10 June 2002 at 07:08 PM.]</p></FONT>

Rick, that's not a digression! That's exactly the kind of musing that makes the forum so wonderful to someone like me. Insights I'd never discover. Sorry to gush, but sometimes people pop out gems that I'd only find with an extra lifetime to invest.

Thanks.

And my mother-in-law says I'm "Good for Nothin"

Rick; is there any truth to it? My mom in law is gone ,god bless her, She may have thought it at tines, but never said it