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Topic: F9th Questions |
Chris Bauer
From:
Nashville, TN USA
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Posted 28 Dec 2016 4:05 pm |
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I'm doing some fiddling with my tunings - as I so often do - and am thinking of making some changes to the Kayton Roberts F9th that I have dabbled with now and then.
I've always thought of that tuning primarily as two cool four-string groups with some useful overlap. In trying to make what feels like a more unified tuning, I'm thinking of moving from F C Eb G F A D F (low to high) to A C Eb F G A D F.
That structure makes more sense in my head but, as always, I'm well aware that what looks good on paper may well suck extremely in reality.
Thoughts on the pros and cons of one versus the other? |
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Mike Neer
From:
NJ
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Posted 28 Dec 2016 4:11 pm
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That's really an F13 because of the D which functions as the 13th above the b7.
Anyway, the reason I bring it up is that it is the same as Noel Boggs' E13, just a 1/2 step higher.
E B D F# G# C# E
Listen to Little Coquette on Shasta Records.
Can you explain the reason for tuning to F instead of E?
_________________
http://www.steelinstruction.com/
http://mikeneer.com
Last edited by Mike Neer on 28 Dec 2016 4:14 pm; edited 1 time in total |
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Joe Elk
From:
Ohio, USA
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Posted 28 Dec 2016 4:17 pm
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I hope some other folks answer up! I tried that one time. Did not work for me.
I Suspect it was some E and some A. It was a 10 string.
Joe Elk |
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Mike Neer
From:
NJ
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Posted 28 Dec 2016 4:17 pm
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It's a strum tuning with a low root, plus you can get some of the octave type licks of Sol Hoopii and others with the bass note. I prefer it, personally. It just depends on certain stylistic things. For me, I like to have bass notes on occasion. Having the 3rd in the bass gives more usable harmony, but you lose a voice.
_________________
http://www.steelinstruction.com/
http://mikeneer.com |
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Chris Bauer
From:
Nashville, TN USA
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Posted 28 Dec 2016 4:25 pm
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The main reason for using F rather than E for that tuning, or tunings like it, is because I like how it pairs with C6th. Side by side it allows the uniqueness of each tuning with the ability to think of them kinda/sorta like 'slantless' I and IV inversions next to one another on adjoining necks.
(Point well-taken on it being a 13th rather than a 9th.) |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 29 Dec 2016 12:40 am
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E13 Lays out your notes with the fretboard markers but I guess if you have a double neck and really know C6 you can use it based on the C6th positions as IV inversions.
Different approach but interesting concept.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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J Fletcher
From:
London,Ont,Canada
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Posted 30 Dec 2016 11:37 am
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F C Eb G F A D F
So what is the story with the 4th string "F" in that tuning? Do you have to work around it for single string playing?
I have wondered about that in the past. Tuned a tone lower than the 5th string I assume. |
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Chris Bauer
From:
Nashville, TN USA
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Posted 30 Dec 2016 3:08 pm
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| I find it tough for single string work but think of it as two really handy sets of four string clusters. (Yes, the F is below the G and part of what I was trying to see is if I liked them reversed. After a few days of fiddling with it, I'm solidly back to the original tuning as is.) |
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