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Topic: F#9 vs E9 tuning... |
John Bushouse
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Posted 23 Feb 2005 3:07 pm |
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So, I've decided to give F#9 tuning a try on my 7 string (step one in the series of "How to Sound Like Dick McIntire in 439 EZ Steps").
I'm using (low to high) F# A# C# E G# C# E.
Everything's an accidental except for those two Es. Then I noticed that if I dropped everything down a step I ended up with E9, as follows:
E G# B D F# B D
Notice those nice friendly "natural" open strings of E, B, and D.
So the benefits of F#9 tuning seems to be higher string tension (assuming the same strings). E9 has more familiar open strings and the familiar (from G tuning) BD string pair at the 12th fret.
Any reason I shouldn't use E9 instead of F#9? as there's really no written tab in either tuning (as far as I know) that's not a limitation.
Any thoughts? Thanks in advance...
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Mike Fried
From:
Nashville, TN, USA
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Posted 23 Feb 2005 3:22 pm
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| I play a lot of 7-string F#9 myself. I can't think of any reason to prefer E9 over it other than needing to favor its lower range for vocalists, etc. I prefer the higher string tension on my Tradewind Frypan, but your results may differ... |
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John Bushouse
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Posted 23 Feb 2005 6:58 pm
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| Hmm. After reading Jeff's soapbox thread, and Bruce C.'s article on tunings, maybe I'll stick with E6, either E G# C# E G# C# E or E B C# E G# C# E. I haven't figured out what I would do with the F# and A#, anyway... |
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Stephan Miller
From:
Silver Spring, Maryland, USA
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Posted 24 Feb 2005 7:04 am
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John-- I'll bet neither Jeff or Bruce would want to discourage you from exploring this tuning...one that to me looks more interesting than the versions of E6 you mention. You could get a lot out of a "compound tuning" like this, with the E6 on top and the F# triad on the bottom (or D6/E if you tune it down a step). F#9 vs E9? Why not pick whichever one favors the keys you want to play in? One consideration for me is to avoid a tuning that's going to have me playing on the 12th fret a lot, where I'll get too much harmonic chiming.
Other than that, your real limitation might be thinking too much like a guitar player (I can relate!!) Make friends with your "accidentals", bro...  -Steve |
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Mike Fried
From:
Nashville, TN, USA
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Posted 24 Feb 2005 9:55 am
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| Stephan put it much better than I did... This tuning is way more versatile than its E6/C#m predecessor, basically two interrelated tunings for the price of one. Not only do the bottom three strings give you another major triad (just down two frets from your E position), you get dominant 7th and 9th extensions to that when you add strings above it. Once you get the hang of what that's about, you'll be amazed how easy it is to find great-sounding extended chords and substitutions for minors, etc. Don't let those accidentals throw you - they're just names, anyhow! Let your ears lead the way... [This message was edited by Mike Fried on 24 February 2005 at 09:56 AM.] |
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John Kavanagh
From:
Kentville, Nova Scotia, Canada * R.I.P.
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Posted 27 Feb 2005 12:10 pm
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I think sometimes you have to let the guitar decide what tuning it wants - even with the perfect stringing, one option might suit your instrument better.
Another consideration is whether you want to avoid or exploit open strings. An E9 tuning gives you open-string licks in E and A, common keys for blues and rock. In F#9, you can play in G at the first fret without using any open strings. |
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