10 String E9: If you had to give up one string?

[Cliff Kane]

I'm curious which string would be the first to go if you had to give up one of your ten strings in the E9 tuning.
I would think maybe one of the string 1 and 2 chromatics, or maybe string 7 F#, or maybe string 9 D?

Which string would you do without and why?

Thank you,
Cliff

[Ben Jones]

I had to comtemplate this same question recently after aquiring an 8 string psg (fender 1000), cept I had to ditch 2 strings. I killed 9 and 10. I couldnt give up the chromatics. I thought about ditching 2 and 7 but they get too much use.

[Bob Blair]

I can see (very reluctantly) giving up the ninth string D as long as I could get it with a lever when I needed it. If one string had to go that would probably be it. Not having the 10th string B would drive me crazy - to the point where I would have to look at giving up the chromatics if I had an 8 string machine.

[John Groover McDuffie]

I think the original E9 tuning in the non-pedal days did not have a E on the 8th string but jumped from F# to D. Could you do without that string and get that note with a lever or pedal?

[Ben Jones]

9 seems like the least valuable string to me, but Im a newb. What do you use it for Bob?

my thinking was that 2 and 7 were needed for my most commonly used harmonized major scale without moving the bar. Ive only had this guitar for a very short while tho so things could easily change, i need to experiment some.

I should do some research into some fender 1000/400 tunings for E9th. The fender suggested tuning from the manual is near worthless as best as i can tell. so much to do and so little time to do it all in.

[Jerry Roller]

I would give up #1 and #2 if I had to go with 8 strings. I played for an 8 string without the chromatics for several years in the 1960's.
Jerry

[Jeff Watson]

Lose the D, add the lower G#. Pedals down gives you a complete A6. Poor mans Extended E9/Universal.

[Donny Hinson]

Definitely I'd lose the 7th string (which is actually a 9th tone). I find very few instances in most music where the 9th tone sounds better, or is used more frequently, than a 7th tone.

[John Groover McDuffie]

But Donny, it's only the 9th of a chord based on E. It's the 3rd of a chord based on the D string, it's the 5th of a chord based on the B string, it's the root of the F#m chord. (All assuming open position) All useful.

Any time you give up a string you give up options.

[James Cann]

And so I'll keep them all, thanks.

[b0b]

I'd replace 7, 8 and 9 with two E strings, like the Sacred Steel copedent does. Something like this:
[tab] LKL LKR p1 p2 p3 RKL RKR
1 F#
2 D# --C# -D
3 G# +A
4 E +F ++F# -D#
5 B ++C# ++C#
6 G# +A
7 E +F ++F#
8 E -D# --D
9 B ++C# --A
[/tab]

[Dan Rollans]

Ok, Here's my two cents worth. I play Zane Beck's tuning,with some modified changes. Recently I had my 30 year old S-10 BMI rebuilt by the BMI master himself Don Fritchie. I had Zane's tuning put on 10 strings and I love it. The string set up is as follows (1-10) G# F# E C# B G# F# D B G#. As you can see Zane placed the strings in order (small to large). Strings 1 3 5 6 10 work the same as regular E9th. The 4th string C# raises to a D and to a D#.
To stay on subject, the 9th string D is raised to D# E and F# by way of knees and pedal. So if I had to lose a string on regular E9th it would be the 8th E string. Because I can get D D# E & F# from just on string. I beleive on regular E9th strings 8 9 10 could be changed to D B G#. I play it this way and have found some really nice cord changes. What do you think? Thanks, Dan Rollans @ Steelers Choice

[Cliff Kane]

Thanks for the great replies. Very interesting!
If the 9th string D were removed would the tuning still be called E9? Don't you need the dominant 7 tone to put before the 9th tone? Maybe I'm thinking of chord structure more than scale structure?
Also, if the 9th string D were removed, would it be a good idea to tune the 2nd string D# down to D to restore the dominant 7th tone? I guess that would be sacrificing the major 7th tone, but it seems like the dominant 7th tone is more practical than the major 7th tone?

[b0b]

Thanks for the great replies. Very interesting!
If the 9th string D were removed would the tuning still be called E9? Don't you need the dominant 7 tone to put before the 9th tone? Maybe I'm thinking of chord structure more than scale structure?

If you remove the D string you should probably call the tuning Emajor9.

Also, if the 9th string D were removed, would it be a good idea to tune the 2nd string D# down to D to restore the dominant 7th tone? I guess that would be sacrificing the major 7th tone, but it seems like the dominant 7th tone is more practical than the major 7th tone?

You're only looking at two positions. There are seven scale positions on the high strings. The 2nd string is tuned to D# for five of them and D for the other two. Hence, the D# is the more useful note.

[richard burton]

At a push, I could manage without the seventh string.
The ninth string, with a half-tone drop, is too valuable to me to give up

[Dave Mudgett]

I'd rather have 11 or 12 strings, so to get one of the strings from my 10-string E9, you'll have to pry it from my cold, dead fingers.

But if I absolutely had to give up just one, I'd lose string 1 - F#. If I had to give up yet another, I guess it would be string 9 - D, but I'd put it on a lever on the 10th string B, which I could toggle back and forth between C# and D with the A-pedal depressed.

[Jeff Watson]

I have that low B to D toggle move next to my A pedal. I play a Day set up (though it would work better in reverse for an Emmons set up) and have my E to F# on a knee lever so I didn't use my C pedal. I moved my B pedal to the far left (1st pedal) made my center pedal the A pedal, and put the low B to D move on the inside pedal. I can now press my A & B pedals and rock this "D" pedal. Very cool. As far as the 2nd string goes I assume we've all got the D# to D lower on a knee lever.

[Mark Lind-Hanson]

I could live without the 2nd string.
The 9th, not. It's too cool for the kinds of bass runs I like.

[Joseph Barcus]

I could not think about taking a loss on any of them, I see alot of people would take the 9th string I had a universial once we know that they have the 9th a raise. it was extra work to get to the 9th so I went to a double neck and been there for several years. but back to the question I would take the 10th off but would really hate that as well.

[Tamara James]

Definitely I'd lose the 7th string (which is actually a 9th tone). I find very few instances in most music where the 9th tone sounds better, or is used more frequently, than a 7th tone.

I agree. F# Get that note somewhere else.
My 7th string doesn't move with any pedal or lever. It just sits there. I've only used it once or twice in a year or so. I don't think I would miss it very much. I'll probably change it down the road when I learn the guitar better.

[Richard Sinkler]

Although I use it quite a bit, the 9th string is the only string I would be willing to give up. Actually, I could probably live without the 10th string if I had to. I probably use 9 or 10 about the same amount.

I would never get rid of the 7th string. Some of the posts here address chords made with certain strings. What about fast single note runs and scale licks? Could not do without the 7th string.

[b0b]

Definitely I'd lose the 7th string (which is actually a 9th tone). I find very few instances in most music where the 9th tone sounds better, or is used more frequently, than a 7th tone.

I agree. F# Get that note somewhere else.
My 7th string doesn't move with any pedal or lever. It just sits there. I've only used it once or twice in a year or so. I don't think I would miss it very much. I'll probably change it down the road when I learn the guitar better.

The 7th string F# is only a "9th tone" when you think of it with low E (out of range) as the root. That's not how it's normally used.

That middle F# is the 2nd note of the E scale that starts on the 8th string. You can't play the scale in the "no pedals" position without it. (Licks are made from scales.)

That middle F# is also the 5th tone of the B6th chord (with E's lowered). It's very hard to play any western swing on E9th without the full B6th chord.

That middle F# is the root of minor chords created with the B+C pedals. It's also where you anchor your thumb to play minor scale licks in the B+C position.

I guess if you never play major scale licks starting or ending on the E string, never play western swing and never play in minor keys, you could do without the F# string. Myself, I have a hard time imagining it.

[Tamara James]

Great information on the 7th string. I'm going to keep that in mind. I guess the problem is that I am way to new of a student to have experienced western swing (I do love it, just haven't tried to play it) or the minor scale licks yet. I'm still working on finding all the major cord places. I consider myself corrected. Thank you.

[Roger Rettig]

Either the 2nd or the 8th (E) - I couldn't decide until I'd spent some time with it.

Never the ninth (D) - far too valuable as a root-note and, with the half-tone lower, the tuning is opened up and goes into pastures new!!!!

[b0b]

This topic got me thinking. Here's an 8-string 3+4 I've been imagining:
[tab]
LL LR P1 P2 P3 RL RR
D# -D/C#
G# -G +A
E +F ++F# -D#
B ++C# ++C#
G# +A
F#
E +F --D -D#
B ++C#[/tab]