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Topic: Jules Ah See tuning - that bottom string |
Paul Seager
From:
Augsburg, Germany
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Posted 4 Mar 2021 2:56 am |
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I was reading through the Jules Ah See bio thread from Andy Volk https://bb.steelguitarforum.com/viewtopic.php?t=359808
I listend to some recordings of Jules and I can understand the respect. But about the tuning - I strung an 8 string as prescribed by Andy (Lo>Hi) C, Bb, C, E, G, A, C, E and yes its cool, love the 7th where it is but how / how often is string 8 - that very low root (C) used?
Here is why I ask: Currently I use an 8-str. "6 chord" tuning: (tones lo>Hi): 6 1 3 5 6 1 3 5.
Comparing the two I think I would definitely miss the hi 5th on string 1 for melodies, solos and slants.
Likewise I do like that low 6th (currently str.8 ) for minor "power chords" so that has to stay.
Now to keep those two tones but add that dom 7, I could live without the low root (curr string 7) and but would mean to lose the very low root (Jules' str.8 ) so I'm curious how Jules made use of it.
\paul |
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Nic Neufeld
From:
Kansas City, Missouri
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Posted 4 Mar 2021 5:12 am
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I tried A6 for a while and I do enjoy the top "5" on B11, but I'm still most at home with a "top 3rd" like JAS. When playing standard C6 for a while, I never found much use for the low 6th (other than, as a beginner, it being less discordant than the low flatted seventh on a strum). But I guess if you've found good use for both of them, that's good. I think if you like the top 5th, the simplest choice would be to just sharp your low 6th to a b7 and forego the low C. Similar to what Junior Brown does with his C13. Gives you all the same chordal options.
Mike Neer has definitely explored this tuning more in depth than, well, most of us, in terms of harmonic options. But as for me, and probably how Jules tended to use it, the low C is in large part there to anchor really full sounding chords. I would say, it's good to have if you want more of that full chordal "Hawaii Calls" sound...but less necessary if you want to just explore a 13th tuning.
..and with a bit of muting and a nice fullrange amp you can fake a bass solo 
_________________
Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me |
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Bob Stone
From:
Gainesville, FL, USA
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Posted 4 Mar 2021 5:28 am
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| For years I was among those who used an E for the first string of C6 tuning. Two or three years ago I put a G on top. My bottom string is normally A, but depending on the tune, I’ll tune it to Bb or G. I play the high G on top much more often than the 8th string. If I want that fatter E string tone for a passage, I play the 2nd string, but the high G string sure is handy when I need it, especially when playing country, swing or jazz. |
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David Matzenik
From:
Cairns, on the Coral Sea
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Posted 4 Mar 2021 3:16 pm
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With the basic 6 string C6th, you have the relative minor chord on top of the Major chord. In A6th the Major is on top with the relative minor overlapping it. (No pun intended)
When a G is added on top of C6th, you end up with the same intervals as A6th, only with a "capo" on the third fret. The use of this still puzzles me, except if the key you are playing in suits a higher tonal centre.
_________________
Don't go in the water after lunch. You'll get a cramp and drown. - Mother. |
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Paul Seager
From:
Augsburg, Germany
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Posted 5 Mar 2021 12:10 am
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David (et al), I have a Ricky twin-8 and use A6 (with the hi E) for the majority of what I play. My Country band plays a lot of Western Swing and the keys that we sing in suit A6 far better than C6. In a previous band C6 worked far better!
Recently I founded a Hawaiian Swing band and for that I switch between A6 and an extended B11 (meaning B11 is on strings 1-6) and of course the top 4 strings of B11 are the same as A6 making it is easier to think across necks.
It's the Hawaiian interest that led me to Jules Ah See and his tuning. I like it but adding it to my Ricky (regardless of whether C or A is the focus) would force me to rethink everything I currently play. Keeping in mind that a lot of early Hawaiian was played on open A (yes, and many other tunings!) I've incorporated some of those "skipping licks" onto my A6 neck. Now alternate solutions could include:
- Get a three neck instrument (difficult to find here and Mrs Seager will not be amused!) or;
- Add more strings  !
I intend to invest some time and play around with this tuning on a seperate instrument - maybe I will grow to like that bass string and lose the hi-5 !
\paul |
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Mike Neer
From:
NJ
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Posted 5 Mar 2021 5:28 am
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Man, I could do an entire workshop on usage of the bottom string, but in all honesty, it’s not for everyone. In most cases, players don’t need it. However, I have developed a significant part of my own style based on it, mostly using it for guitar type chording and bass lines. But it is also a major part of my application of spread triads. I can comp like a jazz guitarist or even approach playing chord solos that way. I do a lot of comping.
Oddly enough, I’m making a new album only using 6 string C6, so it’s not like I can’t live without it.
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http://www.steelinstruction.com/
http://mikeneer.com |
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