Sacred Steel Tunings

Keith Grubb · Post by **Keith Grubb** » 26 Sep 2002 11:21 am

Hi All,
I know some tunings are based on open A and open E major, but are there any other variations being used? Can you spell them out for me? Thanks

Keith

Bill Leff · Post by **Bill Leff** » 26 Sep 2002 11:52 am

Darrick Campbell uses this one:

B E B E G# B (C#&D) E

Use either the C# or D for the second string.

Bill Leff · Post by **Bill Leff** » 26 Sep 2002 11:57 am

Aubrey Ghent uses this one:

E G# B E G# B

seldomfed · Post by **seldomfed** » 26 Sep 2002 2:03 pm

many here
http://www.steelguitar.com/resource/tunings/sacredsteelers/sssetups.html

many of the younger players are turning to pedal btw.

chris

------------------
Chris Kennison
Ft. Collins, Colorado
"We can't afford to let Nature run wild" - govt. offical - Alaska
www.seldomfed.com

Philip Bender · Post by **Philip Bender** » 26 Sep 2002 3:41 pm

Aloha all,
I hate to be redundant, but don't forget the C diatonic, you can do a lot with it.

E F G A B C E ,
bottom to top. As you can see, you can get the 3 root chords on any fret, only the V chord is a contraction.

Try it, you'll like it.
Phil

Graham Griffith · Post by **Graham Griffith** » 28 Sep 2002 9:21 pm

Philip,

are the sacred steelers using C diatonic? I agree that it's a great tuning. Do you play it live?

Graham

Philip Bender · Post by **Philip Bender** » 29 Sep 2002 8:25 am

Hi,
I don't know who all of the "Sacred Steelers" are, but some of the greatest music on the steel guitar has been performed by the "Master", Jerry Byrd, and yes I do it live. I have played in the Joliet, and Winchester guitar conventions, and regularly use the C diatonic tuning. Just set up a neck or separate guitar with it, and give some serious effort. Jerry says it takes a long time, and a lot of effort, but it does sound beautiful.
Lots of luck,
Phil Bender

Ray Montee · Post by **Ray Montee** » 29 Sep 2002 11:05 am

Question: WHY is so much discussion directed to "what tunings to be used" when the topic of Sacred Steel Guitar comes up?
Leonard T. Zinn...of the old 101 Ranch Boys fame...used to play a lot in what I tho't might be a C#min. tuning. Jerry Byrd has played many in C6th.
Regardless of the TUNING.......isn't it the players technique, personal styling and heart felt emotion that makes the song..... as opposed to what tuning has been selected?
I'm truly interested in the logic behind what at times, appears to be confusion by some, on the topic of tunings for this kind of song or that kind of tune.

Keith Grubb · Post by **Keith Grubb** » 29 Sep 2002 12:40 pm

Ray,

I was interested in finding a tuning for the third neck of my guitar which is currently gathering dust as it sits unused. I've got a nice A7th on one neck and a nice E7th on the other neck. I was thinking of putting a C7th on the third neck, but I was curious to see if there were any other varieties of good blues or rock based tunings out there.

I agree that it's the musician and not the tuning that is important. But as I said before I've got a half empty neck that I'd like the opportunity to play.

Keith

Graham Griffith · Post by **Graham Griffith** » 29 Sep 2002 6:11 pm

Ray,

I can directly answer your question re "Sacred Steel" players. These guys established a steel guitar tradition that didn't owe a lot to what the "mainstream" steel guitar fraternity's tradition (which derived from what was available on recordings). Until recently (the last decade?) as far as I'm aware, the "Sacred Steel" players weren't available on commercial recordings. I'm not sure but I think they have an aural tradition that has existed as long as the "mainstream" recorded tradition. Because of the religious/fervent intensity of their playing, they took a different direction "in which players technique, personal styling and heart felt emotion" still "made the song" but in a rather rhythmic sense. When I first heard them it was wonderful because they were so different to what I'd heard and the way I play. The tuning is relevant because it is used for comping in a way not easily attained in "orthodox" tunings. If this doesn't make sense, check out their recordings ... you may not like or aspire to what they do but I hope you'll admit that they do have the heart felt emotion that is so important.

Graham

Ray Montee · Post by **Ray Montee** » 29 Sep 2002 6:28 pm

Keith and Graham.......your comments are very much appreciated. Thank you.

Bob Stone · Post by **Bob Stone** » 1 Oct 2002 7:19 am

Sorry I have not been able to respond sooner.

The "sacred steelers" refered to here are African Americans who play in the House of God, Keith Dominion or the Church of the Living God, Jewell Dominion. Those unfamiliar with the genre might visit www.arhoolie.com

Bill Leff, I suspect you are confused about Aubrey Ghent's tuning. I had that experience several years ago. Aubrey and other sacred steelers who play 6-string laps will often say they tune to "E" and then mention somthing about root-third-fifth. The "E" they are referring to is the top string. What they are trying to tell you is they tune to high-bass A tuning: A-C#-E-a-c#-e.

Unless Aubrey has made some radical change after 30 years of playing--and I seriously doubt that--he tunes to high-bass A: A-C#-E-a-c#-e. Sometimes he pitches it to high bass G (aka Dobro tuning): G-B-D-g-b-d. His father, Henry Nelson, pitched it to Bb and I think Aubrey has pitched it that high on occassion. Willie Eason, who inspired Nelson, uses the same tuning, usually pitched near G. Because he's primarily a solo player he often doesn't tune to any standard pitch.

The most popular tunings for 8-string laps are almost always based on an E major chord. Some include another note on the second string, usually a flatted 7th (d), a la Calvin Cooke, or sometimes a sixth (C#). Although Darick Campbell uses both, he seems to gravitate towards the C#. The way Darick plays he almost never brings out a 6th chord sound. He uses the C# to advantage in picking single-note lines, rather than for chords or double-stops.

It should be noted that the B string on Darick's steel is a low B, somewhere around .070, maybe even more. He often uses the bottom one or two strings (combined with an adjustment of guitar tone controls) to imitate an electric bass--something he does very well. It will be interesting to see how that aspect of his playing changes now that the Campbell Bros have added a bassist to their group.

The Church of the Living God, Jewell players (Sonny Treadway, Footie Covington, Kim Love) all use 8-string E major with the root on top. Their bass string configurations may vary from one player to another.

There are exceptions of course, but the above tunings are the rule.

I plan to include a lot of info on tunings in an appendix to the book I am working on, which will be published by the University of Illinois Press.

Hope this helps.

[This message was edited by Bob Stone on 01 October 2002 at 08:46 AM.]

Keith Grubb · Post by **Keith Grubb** » 1 Oct 2002 10:29 am

Bob,

Thank you for your insightful words. Please let us know when your book will be available.

I've been listening to Sonny Treadway's "Jesus Will Fix It" CD a lot lately. Boy am I in awe of his bass lines. I'm going to try and learn some of them after many more hours of listening.

Bob I thank you for being involved in recording these great artist!!!

Keith

Andy Zynda · Post by **Andy Zynda** » 1 Oct 2002 1:10 pm

Hey Phil,
Do you have a reccomended string gauge for the C Diatonic?
Thanks!
-andy-

Bob Stone · Post by **Bob Stone** » 2 Oct 2002 10:14 am

Thanks Keith. I've been very fortunate to have the opportunity to document this wonderful music. I have gotten to know a lot of fine people along the way. The journey continues...

Thanks for your interest in the book. The manuscript is due 9/02. I really have no idea how long it may be after that before all the editing process is completed and it is printed. Naturally, I'll post updates on the Forum.

Best,

Bob

HowardR · Post by **HowardR** » 2 Oct 2002 4:34 pm

WAIT!!! Bob, hold the press!!!!! Here's a must for your book...the latest Sacred Steel sensation.......

"Nothing comes between me and my Calvin"

Don't even ask.....

Wayne Cox · Post by **Wayne Cox** » 5 Oct 2002 8:54 am

Re: Ray Montee,
For whatever reputation I have,I am primarily known amongst pedal steelers. But,like many others,I tried for years to emulate Jerry Byrd,using the C6th tuning.On some tunes I did just fine,on others I struggled and failed miserably.Some of the tunes on his "Memories of Marie" later renamed "Satin Strings of Steel"album just couldn't be played on C6th. About 3 years ago,I finally discovered that he used the "C-Diatonic" tuning to play several tunes on this album. My opinion of him as a Master is not diminished in the least,just because he used more than one tuning.Ultimately, I have to agree that regardless of the tuning,its the master's touch that is most important!But,I also have to respect his genius and open-mindedness which led him to try different tunings in order to musically express himself more completely.
W.C.[This message was edited by Wayne Cox on 05 October 2002 at 10:11 AM.]

Wayne Cox · Post by **Wayne Cox** » 5 Oct 2002 9:13 am

Re:HowardR,
Is that for real!!!!?
W.C.

HowardR · Post by **HowardR** » 5 Oct 2002 1:03 pm

All right, since you asked....yes, it is.

Calvin's guitar was sent to me in error, and he in turn received mine. We are in the process of swapping, but not before I took a photo of myself with his....

Sage · Post by **Sage** » 8 Oct 2002 8:23 am

a little inadvertant cultural exchange program sponsored by Harmos music...