Which G?

Paul Spafford · From: Ottawa, Ontario, Canada

Hey y'all. I'm just starting out on the lap steel. Actually, I don't even own one yet, but am buying a Gretsch Electromatic in about a month when the divorce money comes through. Very Happy

I had a really old Fender over 20 years ago, but never really used it much. Mostly just distorted the snot out of it and tried (poorly) to sound like Elmore James.

I play mandolin and clawhammer banjo (and used to play a lot of guitar). I have the banjo tuned to G (from bass: DGBD), so have been assuming some sort of G tuning would be an easier transition for me.

At first, when I saw anyone talking about "open G" I assumed it would be like G tuning on a guitar (from bass: DGDGBD), but have discovered it actually means GBDGBD.

I can see advantages to both tunings. I'm wanting to play along with some blues, and also play old country style with folk guys, but mostly, I'll be playing on my own. When alone, I'll be wanting to do what I can to have a reasonably full sound - once again on some blues and folk.

I'd love to hear from some of you with more experience which G tuning you'd recommend I use. For some reason, I'm really leaning toward the low G tuning, because I think it might be nice to be have the option of approaching that bottom G from below. However, I'm waiting for someone to tell me I'm wrong.

Thanks!

David Matzenik · From: Cairns, on the Coral Sea

I think the short answer is both. You can also raise the 4th string to E, if you really need the relative minor. Everything about steel guitar tuning is compromise, nothing is ideal.
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David Knutson · From: Cowichan Valley, Canada

Hi Paul, I use the low G tuning a lot when I'm accompanying myself singing, largely because I really like getting that alternating bass thing going with my thumb. And it is pretty versatile in general. When I find myself in more Bluegrassy situations I prefer the high G, which is the "standard" Dobro tuning. Enjoy.
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Guy Cundell · From: More idle ramblings from South Australia

The low G tuning is a tone down from the original Hawaiian low A tuning that took the world by storm at the beginning of the last century. It was so prevalent that publishing companies released sheet music without even bothering to identify the tuning.

High G and A are tunings that appeared in the 1920s and were more harmonically versatile, particularly when using bar slants. Slants are something you may want to look into. While some people don't use them, they were a technique used by steel guitarists right from the start.

Some folks may advocate E tuning for blues which is fine but so are both your G tunings.

Here is a page from a famous steel guitar book from 1917 using low A. Will work fine with your low G.

Paul Spafford · From: Ottawa, Ontario, Canada

Thanks, guys. I'm liking the idea of being able to play an alternating bass, so that may keep the low G in the lead. Not adverse to learning some slant, though.

I want to use pretty heavy strings (I liked heavy strings back when I was a guitarist!). I've looked up some ideal gauges for each tuning. I don't expect I'd be able to switch between the tunings without changing some strings, would I?

Paul Spafford · From: Ottawa, Ontario, Canada

Okay, so I was discussing this with a buddy at a jam last night. He's one of the few people I know who sees "fretboards" mathematically like I do. The answer to which G to use is that I think I'll try C6.

I'd never thought about it, but here's what I like:

1. The relative minor is accessible.
2. That 6-chord C&W sound is easily accessible.
3. Four of the notes on the major pentatonic are accessible without moving the slide.
4. Four of the notes on the blues pentatonic are accessible by moving the slide up three frets from the root.

This is cool. I got the Gretsch 5715 a few days ago, and have been messing with low G, but I'm getting new strings soon so I can go C6!

Jeff Mead · From: London, England

One more suggestion to consider - especially as you have already decided on a 6th tuning - G6?

This would be the same as the classic A6 tuning but everything 2 semitones lower.

low to high B D E G B D

The main 2 advantages as I see it would be.

Chord positions same as banjo so you know you'll find C on the 5th fret and D on the 7th without even thinking.

You have a major triad on 123 and the relative minor on 234. With C6 (assuming the high E version of the tuning) you have to use a more complicated grip to get the major triad - 124 (Edited - thanks for pointing it out, Steve).

All those Hank Williams licks will still fall under your fingers, same as with C6.

Steve Green · From: Gulfport, MS, USA

Jeff Mead · From: London, England

Sorry - brain fart - yes, I should have said 124 (and have now corrected but the point I was making is that I found the major triad on 123 (and in a fairly high register) and relative minor on 234 really convenient and easy to get my head around instead of having to miss out a string.

And also (I forgot to mention) if the OP is already familiar with DBG on the top 3 strings he's already in slightly more familiar territory.

Ian · From: San Francisco, CA

Paul,

I like tuning the lap steel C6 and the dobro to G. I've been playing a lot of blues on both; that C6 tuning is pretty cool though - check it out.

Ian

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