That said, my recent years have been spent pursuing mostly what is known as the E9 sound. I'm still not sure exactly what than means sometimes but we all have our guess I suppose. I'm going to approach this in a few segments just so these threads are easy to read. Here is my first thought and the most significant change from the original ZB tuning.String #8 - original tuned to D. I now tune to E.
Yes, I know there will be those that will argue the D position and what this does to the tuning from a theory standpoint but here is what I do...(again thinking from the E9 "sound".
I lower my 8th string to Eb. I raise to F. Obviously, this gives me exactly what E9 players have on grip 8, 6 and 5. I also then lower this string to a D. This, of course gives me the dominant 7th I need. Plus it creates some very nice "slurs" and "movements" that are not on the traditional E9.
You may ask then what I do with the 9th string. On E9 this is of course a D. Again I get my D on the 8th string with a knee. Therefore, I ignore the 9th string from the E9 and tune my 9th to a B. This is just like your "B" 10 string on E9. This of course allows for an additional string to be used on my 10th string which is a G#. I ask you to now consider that 10th string G# to parallel the 6th string G#. What you get is basically what E9ers refer to as the "Bs" (strings 5 and 10 on E9 tuning). Simply put this is adding yet another grip. As most of you know, E9 tuning as 4 basic chord grips. I have 5.
Of course depending on the 5 strings I'm allowed on a recording session..I just have more choices but still only get to use my 5 that I brought to the studio. LOL!This is just the beginning of what I will attempt as an argument that Zane Beck's tuning is actually the most suited musically and commercially for steel guitar. I might later tackle the more C6 approach but I have yet to see many folks actually make a living from that neck. I said "make a living" not just make money.
I welcome your thoughts and challenges.
