Varieties of C6

[Andrew Frost]

Looking at 10 string pedal steel C6 as a source, been thinking about various 6 string 'cross sections' to explore on 6 string non pedal.

1 D (or G)
2 E
3 C
4 A
5 G
6 E
7 C
8 A
9 F
10 Low C


For example, the 'standard' 6 string tuning could be viewed as a cross section of string 7-2.

Anybody try this general approach to a tuning with different sections of the 10 string configuration?
I'm thinking FACEGA would be a fun, low sounding tuning to throw on a lap steel, as would ACEGAC, albeit somewhat unconventional.

[Allan Revich]

FACEGA

Seems kinda cool. Open strings for F, FM7, FM9, C, C6, Am, Am7 — all with adjacent strings.

[Gene Tani]

You can look in Andy Volk's Slide Rules book for all kinds of ideas

[Mike Neer]

I wish I could extoll of the virtues of C13 Jules Ah See all in one post. Let me just say that concentrating strictly on this tuning for several years has given me insight into things I couldn’t imagine could be done, including comping chords like a guitarist on the bottom strings.

[Allan Revich]

I wish I could extoll of the virtues of C13 Jules Ah See all in one post. Let me just say that concentrating strictly on this tuning for several years has given me insight into things I couldn’t imagine could be done, including comping chords like a guitarist on the bottom strings.

Mike, I can only find references to Jules Ah See C13 for 8 strings. How is it set up on a 6 string? Is one of the two “C” strings replaced by Bb?
Bb E G A C E or C E G A Bb E ?

[Mike Neer]

I wish I could extoll of the virtues of C13 Jules Ah See all in one post. Let me just say that concentrating strictly on this tuning for several years has given me insight into things I couldn’t imagine could be done, including comping chords like a guitarist on the bottom strings.

Mike, I can only find references to Jukes Ah See C13 for 8 strings. How is it set up on a 6 string? Is one of the two “C” strings replaced by Bb?
Bb E G A C E or C E G A Bb E ?

Sorry, I overlooked that detail, for 6 string, I think C6/A7 is very versatile. Again, it is a rabbit hole that I am sure would yield a bounty of new discoveries for years.

[Nic Neufeld]

Allan, Alan Akaka plays 8 string Jules Ah See C13 frequently (if not primarily...but also many other tunings) as do I, but when he does a tab for students he always does them in 6 string form (to appeal to the most players). He usually uses E-C-A-G-E-Bb, bottom string of normal C6 flattened. Iʻve done that when playing my tricone in C13. Works pretty well.

There are some things you donʻt have available that you normally do in 8 string C13...that big bass string for one, as well as certain slants using the lower strings, but you still have what I consider the primary advantages of C13.

Personally speaking, flattening the upper C would break my brain when playing melodies, but the lower C is out of the way for the most part so it works well to be my optional "color" string for adding in a dominant flavor.

I also agree that C6/A7 works nicely for 6 string. Something about it, its more a 6 string tuning whereas C13 feels more like an 8. Partly because I never really know where to tune my lower strings to when tuning a C13 set to C6/A7...I guess Bb to A and then low C to...well that one is tricky because the maj 3rd that low sounds weird, so sometimes Iʻve detuned it all the way to a low A (hopefully with enough string tension to avoid bottoming out the pickups. But in short I like the lower range on C13 more than I care for it on C6/A7. On a 6 string, youʻre just one string moving around a step and a half to get all three, C13, C6, C6/A7, so try them all.

[Andrew Frost]

Yes 13th tunings in general seem to yeild good things. I've wondered about that Jules tuning with the low root and b7. The gap between C and Bb seems huge but I can see how it could work.
I suppose if you sacrificed the 5th chord tone, you could do something like that with E13 on 6 strings.

E
C#
G#
E
D
Low E

Could work for D13 too.

Alan, the FMA7 thing is tempting. I may give it a spin!

[Scott Thomas]

Adding on to what Mike Neer posted above, he has a great post on his blog about Jazz comping on the bottom strings using Jules' C13. This could give you some idea of the kind of voicings and slants possible using the Rhythm changes as an example:

http://www.lapsteelin.com/tag/c13/

[Allan Revich]

Looking at 10 string pedal steel C6 as a source, been thinking about various 6 string 'cross sections' to explore on 6 string non pedal.

1 D (or G)
2 E
3 C
4 A
5 G
6 E
7 C
8 A
9 F
10 Low C


For example, the 'standard' 6 string tuning could be viewed as a cross section of string 7-2.

Anybody try this general approach to a tuning with different sections of the 10 string configuration?
I'm thinking FACEGA would be a fun, low sounding tuning to throw on a lap steel, as would ACEGAC, albeit somewhat unconventional.

Just curious, and following up.

Have you tried any of your C6 experiments yet, and if so, is one or more going to “stick” for you?

[Andrew Frost]

Looking at 10 string pedal steel C6 as a source, been thinking about various 6 string 'cross sections' to explore on 6 string non pedal.

1 D (or G)
2 E
3 C
4 A
5 G
6 E
7 C
8 A
9 F
10 Low C


For example, the 'standard' 6 string tuning could be viewed as a cross section of string 7-2.

Anybody try this general approach to a tuning with different sections of the 10 string configuration?
I'm thinking FACEGA would be a fun, low sounding tuning to throw on a lap steel, as would ACEGAC, albeit somewhat unconventional.

Just curious, and following up.

Have you tried any of your C6 experiments yet, and if so, is one or more going to “stick” for you?

Hey Allan
Yes indeed Ive been tinkering with some of these intervalic variations but none have really stuck as tunings I want to live with per se in 6 string format.
The impetus for this experiment was due to years of playing and thinking in terms of E9 pedal steel which has a B6 'backyard'. So with C6 everything is a semitone away. I've never really gotten to know proper C6 close up in any capacity. I used to use G6 alot on lapsteel so I understand the way it works but have never really gotten inside the legit C tuning headspace and am/was taking this perspective on it as a way to explore it further!
Hope you're well.

[Allan Revich]

C G C A C E

Anyone ever tried this one? The low C would probably too slack on a short scale but might work on a longer scale. On the plus side you’d have a huge range over just 6 strings. On the minus side, you’d have a huge range over just 6 strings!

[Robert Murphy]

C E G Bb CE. If you don’t wish to play Hawaiian C6 then I can’t find fault with raising the A a half step. All the Major grips are the same (avoid the third string). The major second moves from strings 4-3 to 2-3. No full minor triad but a nice root, minor 3 on strings 2-3. A full minor triad with forward slant 1-22. Same intervals as E7.