| Author |
Topic: What is this tuning called? |
Stanley Benoit
From:
New Iberia,Louisiana, USA
|
Posted 21 May 2018 4:26 pm |
|
low to high G# B E F# G# B E G# C# F#.Pedals would raise standard pulls and lowers. Just wondering.
_________________
Williams D10 400 keyless ,95 Pedalmaster D10 Nashville 400,Fender Vibrosonic |
|
|
|
Rich Peterson
From:
Moorhead, MN
|
Posted 21 May 2018 4:35 pm
|
|
| E6. Or E6/9, to be precise. |
|
|
|
Fred Treece
From:
California, USA
|
Posted 21 May 2018 9:36 pm
|
|
E Major Pentatonic. 1st inversion major triad on the bottom followed by all 5 notes of the major pentatonic scale. I’ll agree it be called E6/9 too.
Last edited by Fred Treece on 23 May 2018 9:19 pm; edited 1 time in total |
|
|
|
Ian Rae
From:
Redditch, England
|
Posted 22 May 2018 12:35 am
|
|
It's like a U12 B6 without the bottom two strings. I would miss 11 more than 12.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
|
|
|
Jeff Harbour
From:
Western Ohio, USA
|
Posted 24 May 2018 11:20 am
|
|
Just to be the weird one... I'll go with "Db Minor Pentatonic"...
(You can over-complicate anything if you know how...) |
|
|
|
Fred Treece
From:
California, USA
|
Posted 24 May 2018 12:32 pm
|
|
| Jeff Harbour wrote: |
Just to be the weird one... I'll go with "Db Minor Pentatonic"...
(You can over-complicate anything if you know how...) |
It is an unusual tuning. |
|
|
|
Jeff Harbour
From:
Western Ohio, USA
|
Posted 25 May 2018 4:07 am
|
|
Okay, so in reality I would simply call this an E9... here's why...
To me, the E9 gets its name mainly from the presence of the '9th' scale degree (F#) being the "in-between" notes mingled with the main triad, not because it exclusively forms a dominant 9th chord. That's why I don't get bent out of shape with the presence of the Major 7th tone (D#), or the absence of the flat 7th (D) in the common Universal E9 tuning.
The C6 has '6th' tones intermingled (A). Again, I don't worry that there's a low F or a D on top, they are outside of the core of the tuning.
When you think of it that way, then the 2nd string being a C# is insignificant to the core, and it is likely used more for lines rather than as a chord tone (just as the D# typically is). I think Hal and Weldon used a 2nd string C#, but I don't have their charts in front of me.
As for ditching a 'non-core' string in favor of extending the low range, there is precedent as Ralph Mooney had two low strings rather than the high F# and D#.
So there you go... The core is still an E triad with 9th tones in between, so it is an E9. This is just a "Rugg-Myrick-Mooney Hybrid". |
|
|
|
Fred Treece
From:
California, USA
|
Posted 25 May 2018 9:56 am
|
|
| There is some historical fact behind how E9 tuning became the standard for S10 pedal steel. It is indeed much simpler to apply the E9 label to any tuning with an E major triad and an F# in it. |
|
|
|
