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Topic: Sol Hoopi's C# minor 7th tuning ? |
Kevin Ruddell
From:
Toledo Ohio USA
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Posted 26 Nov 2006 6:20 am |
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Cindy Cashdollars tuning chart page in her instructional booklet shows the C# minor tuning and then the Sol Hoopi C# minor tuning lo-hi BDEG#C#E.
Is this correct ?
it seems like half of an E7th tuning with half of a C# minor on top . I just wondered if this is correct or was it a typo |
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Mike Neer
From:
NJ
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Posted 26 Nov 2006 7:05 am
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No, it's not correct. Sol's tuning:
E B E G# C# E, lo to hi. |
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George Keoki Lake
From:
Edmonton, AB., Canada
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Posted 26 Nov 2006 12:22 pm
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| Mike is correct. Bud Tutmarc, (a friend and "student" of Sol Ho'opi'i) used Sol's 6 string tuning throughout his career. Sadly, Bud is no longer playing. |
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Kevin Ruddell
From:
Toledo Ohio USA
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Posted 26 Nov 2006 3:00 pm
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| Thanks for the clarification/correction . It must have been a typo |
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Edward Meisse
From:
Santa Rosa, California, USA
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Posted 26 Nov 2006 3:21 pm
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| Maybe not. I have been suffering under the misaprehension that Sol used the C#m7 tuning also. Not that I would contradict Mike Neer on the subject. But rather that many people share my misaprehension. Knowing what little I do of Mr. Neer, I would give his pronouncements on this subject matter alot of weight. |
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basilh
From:
United Kingdom
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Posted 26 Nov 2006 4:44 pm
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| . [This message was edited by basilh on 27 November 2006 at 04:34 PM.] |
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Tony Harris
From:
England
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Posted 27 Nov 2006 6:05 am
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| And the C#min7th tuning listed by Mike Neer above, I would think of as E6 - after all, it contains three E's! |
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Mike Fried
From:
Nashville, TN, USA
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Posted 27 Nov 2006 7:47 am
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| Sol (and many other players) did use EBEG#C#E and it was/is called C#m, sometimes (more accurately) C#m7. The BDEG#C#E tuning is also often called C#m although it is more accurately an E13. Both of these tunings are obviously based on E major, but for whatever reason their common "names" didn't reflect that. What players commonly call tunings isn't necessarily the most "accurate" name, but become the accepted name over time. Another example of that is the early C6 being called an Am7. |
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George Keoki Lake
From:
Edmonton, AB., Canada
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Posted 27 Nov 2006 2:49 pm
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To be honest, I knew of the Am7th tuning long before I had ever heard of the "C6th". My 6 string "E" preferance is actually the F#9th tuning which you'll hear on many of Dick McIntire's recordings.
HI to LO: E C# G# E A# F#...very close to C#m but with a much nicer lower string sound. |
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basilh
From:
United Kingdom
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Posted 27 Nov 2006 3:33 pm
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| . [This message was edited by basilh on 27 November 2006 at 04:34 PM.] |
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Jesse Pearson
From:
San Diego , CA
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Posted 27 Nov 2006 4:01 pm
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| In my mind, I see all of these tunings as some kind of C#m7 tuning. I can easily remember the upper 4 strings and just change the 2 lowest strings for a particular song. It makes the tuning seem like it has so many options available which I really like. Some of my favorite old and new Hawaiian steel songs use some kind of C#m7 tuning. It may not be the proper way of describing the tuning, but it sure makes it easy for me to remember all the different tunings this way. Jeff Auhoy's original "Magnetic Isles" has become a reference point for me for great playing and is in C#m7. Someone needs to put out a good C#m7 music book someday. |
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Scott Thomas
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Posted 27 Nov 2006 4:31 pm
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Hi Jesse, like you, I think of all those tuninigs as some form of C#m7 with variations/extensions in the bass strings. (rightly or wrongly)
I didn't know "Magnetic Isles" was a Jeff Au Hoy original--just some old Hawaiian steel tune I hadn't heard before. It sure has that vibe--I hope he releases a whole album's worth like that.
Awhile back, I think I remember Mike Neer was in the process of writing a book on C#m7. Did you give up the idea for good, Mike?
These days I'm using the High bass A major string set available from the forum and tuning it to and E7 and C#m. I love the classic Hawaiian sounds I can get. |
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Jesse Pearson
From:
San Diego , CA
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Posted 27 Nov 2006 5:19 pm
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| Hey Scott. The amazing thing about Jeff's song is that he said he was just noodeling and not really following a hard core arangment. I feel strongly that his playing on that recording where he makes the single string lines sound like someone singing (finger rolling the volume from off to on) is one of the best examples of that tech. ever recorded, "connected to the collective". I also hope Jeff comes out with an album as well and a tab/notation book to go along with it, he's got it that's for sure. |
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