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Topic: Who is the godfather of the C6 tuning? |
John Swain
From:
Newberry,SC
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 Posted 16 Oct 2009 8:56 am |
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Buddy Charleton tells the story that Buddy Emmons and Jimmy Day sat down with Hank Garland.They asked Hank what changes they would need to play jazz and he told them..Luckily for us they did it together or me might have Emmons and Day C6 pedal orders to further confuse us!!JS(' ') |
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Bobby Bowman
From:
Cypress, Texas, USA
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| Posted 16 Oct 2009 9:34 am The God Father |
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Not to take anything away from Jerry Byrd, he will always have a most deserving high place in steel guitar pioneering.
However, I would nominate Alveno Rey as the "modern" inovater of most tunings associated with steel guitar.
Trying to go back to "who invented" what with various tunings is probably close to imposible. It is much easier to have an opinion as to who may have brought these tunings to the front of awareness.
Whomever and whatever the case concerning "tunings/chords" probably has its roots with someone hearing or finding it on some sort of piano/keyboard, harp or even guitar and then applying it to steel.
I do know one thing for sure,,,,however the C-6 and E-9 pedal steel came to be what it is today,,,,I'm greatful to all those who helped get it there.
BB
_________________
If you play 'em, play 'em good!
If you build 'em, build 'em good!
http://www.bobbybowman.com |
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Earnest Bovine
From:
Los Angeles CA USA
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| Posted 16 Oct 2009 10:02 am |
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I wasn't there then but it always looked to me as tho P5 and P6 came from the most common bar slants used by Jerry Byrd and others on non-pedal C6 such as these open string notes illustrated as slants around the 12th fret:
| Tab: |
P5 is Ab7 chord:
G 13 Ab
E
C 12 C
A
G 11 Gb
E
C
A
and more commonly, P5 is also D9 chord, no root or 5th as used by every non-pedal 6th-tuning player:
G
E 12 E
C 12 C
A
G 11 F#
E
C
A
And P6 is a similar bar slant for F7
G
E 13 F
C
A 12 A
G
E 11 Eb
C
A
and the more common slant for F9 that we all use
G
E
C 12 C
A 12 A
G
E 11 Eb
C
A
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P7 apparently came from Alvino Rey around 1943 on his E6 :
| Tab: |
E ++ F#
C# ++ D#
B
G#
E
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And of course P8 came from Jerry Byrd who moved his low C manually between C and C#, and sometimes had both C and C# strings on the same neck:
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Doug Beaumier
From:
Northampton, MA
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Willis Vanderberg
From:
Petoskey Mi
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| Posted 16 Oct 2009 12:21 pm |
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This thread makes me think of my friend Al Marcus.
He would love this discussion...
Old Bud |
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Doug Seymour
From:
Jamestown NY USA
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| Posted 17 Oct 2009 7:50 am C6th pedals |
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| I had a multikord and was already into copying Jerry Byrd. My buddy had a Fender 400 and loaned me the book Fender sent with the guitar. The pedal changes I found in the book were credited to Alvino Rey and were A6th changes. I transposed them to C6th and put them on my multikord. They were very much like the C6th changes of today......Cs to C#, G to F#, Es to F & Eb & the major 9th on pedal 7 with C & A to D & B. I wanted to get the changes that needed both feet on the pedals and gave up my volume pedal because of the pedals being way to the left!? |
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Bill Cunningham
From:
Cumming, Ga. USA
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| Posted 17 Oct 2009 5:37 pm |
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I did a search and could not find the topic I remember from a few years ago. My recollection is that in a thread on C6 pedals a few years ago, Buddy Emmons gave credit to Curley Chalker for most of the pedals on the C6.
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Bill Cunningham
Cumming, GA |
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