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Post new topic Tom Morrells' E13
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Author Topic:  Tom Morrells' E13
Ken Campbell


From:
Ferndale, Montana
Post Posted 9 Mar 2015 9:17 pm     Reply with quote

Anyone use an 8 string variant of Tom Morrells E13 tuning?
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Marino Galli


From:
Switzerland
Post Posted 10 Mar 2015 2:30 am     Reply with quote

Yes, I'm using this one :-
(low to High) > B D E F# G# B C# E
I find it very comfortable, although I miss the low E Embarassed
If I could , I would add the ninth String... with a mini bridge Laughing
but, for the moment, it should be well in this way
that's my thought

Cat Marino Galli

(Big Fan of the " One & Only" >Tom Morrell !!!
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Todd Clinesmith


From:
Lone Rock Free State Oregon
Post Posted 10 Mar 2015 8:51 am     Reply with quote

I think you really need to have the full 10 string lay out to have a "Tom Morrell " tuning. You are either leaving out the high F# and G#, which is where he starts a lot of his classic runs. If you leave that out , you just have a variant of Leon's E13.

Or you are missing key ingredients in the bass or mid section.


The closest to the Morrell tuning I could see in an 8 string would be:
G#
F#
E
C#
B
G#
F#
D

Tho leaving out the E between the F# and D is a big part of his tuning. I think you need all 10.
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Doug Beaumier


From:
Northampton, MA
Post Posted 10 Mar 2015 9:13 am     Reply with quote

Yeah, it's a matter of which two strings to leave out. And when two are left out the tuning becomes some other variant of E13.
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Ken Campbell


From:
Ferndale, Montana
Post Posted 10 Mar 2015 3:25 pm     Reply with quote

Yeah, I kinda thought the same thing. Next question is where to find a reasonably priced < 1k 10 string console.....
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Herb Steiner


From:
Spicewood TX 78669
Post Posted 10 Mar 2015 3:30 pm     Reply with quote

I agree with Todd. Ten is the necessary number.
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Ken Campbell


From:
Ferndale, Montana
Post Posted 11 Mar 2015 6:04 am     Reply with quote

Thanks everyone. Ten it is....
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Tom Wolverton


From:
San Diego, CA
Post Posted 11 Mar 2015 9:29 am     Reply with quote

Find an old ShoBud Maverick and don't hookup the pedals. Makes a nice 10-string console steel.
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Mike Neer


From:
NJ
Post Posted 11 Mar 2015 10:15 am     Reply with quote

Tom could make any tuning sound amazing, even dobro G. It's his phrasing and effortlessly long, swinging lines that should really be the focus.
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Tom Middleton


From:
Austin, Texas, USA
Post Posted 11 Mar 2015 1:16 pm     Reply with quote

I really miss Morrell and cherish our hang time.
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Ken Campbell


From:
Ferndale, Montana
Post Posted 11 Mar 2015 6:13 pm     Reply with quote

Anybody know what string guages Tom was using? Or have a recommendation?

Thanks
Kc
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Doug Beaumier


From:
Northampton, MA
Post Posted 11 Mar 2015 7:20 pm     Reply with quote

-----> http://www.hawaiiansteel.com/learning/gauges.php
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Ken Campbell


From:
Ferndale, Montana
Post Posted 12 Mar 2015 4:29 am     Reply with quote

Thanks Doug!
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Stefan Robertson


From:
London, UK
Post Posted 29 Nov 2017 4:57 am     Reply with quote

Todd Clinesmith wrote:
I think you really need to have the full 10 string lay out to have a "Tom Morrell " tuning. You are either leaving out the high F# and G#, which is where he starts a lot of his classic runs. If you leave that out , you just have a variant of Leon's E13.

Or you are missing key ingredients in the bass or mid section.


The closest to the Morrell tuning I could see in an 8 string would be:
G#
F#
E
C#
B
G#
F#
D

Tho leaving out the E between the F# and D is a big part of his tuning. I think you need all 10.


I am wondering if that is actually the case as I am now going into it and the 1st string G# is rarely used at all.

As all the same voicings are available elsewhere plus most of his chromatic passages he tends to move before mainly even getting to the F# and throw in Chord comping in between. This is clear on his Pterodactyl Tales which is the pinnacle of speed, precision, clarity but a clear example of a lot of those moves before getting to the high G#.

I looked at Rosetta, I can't give you anything but Love, and a few others.

I only really hear it in Dinosaur Droppings. Whoa!
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Todd Clinesmith


From:
Lone Rock Free State Oregon
Post Posted 30 Nov 2017 5:56 pm     Reply with quote

Rarely used at all?

I hear him use the high G# in his solos all the time.

You can hear the timbre of the string gauge.
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Stefan Robertson


From:
London, UK
Post Posted 1 Dec 2017 4:39 am     Reply with quote

Todd Clinesmith wrote:
Rarely used at all?

I hear him use the high G# in his solos all the time.

You can hear the timbre of the string gauge.


Really I don't hear it nearly as much as you think based on the notes that follow what "sounds" like it. As then you would be out of position for some of the chords and arpeggios he plays.

Also I remember reading on the forum Tom Morrell in chatting with someone on this forum said if he had to convert his tuning to 8 Strings he said he would REMOVE the 1st and 10th strings.

It makes sense if you listen carefully for the moves that follow after what sounds like his 1st string at least to my ears.
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Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F Bebop Tuning

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Todd Clinesmith


From:
Lone Rock Free State Oregon
Post Posted 1 Dec 2017 8:38 am     Reply with quote

To make a blanket statement of "rarely using it at all", after listening to a few songs, is pretty extreme.
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Stefan Robertson


From:
London, UK
Post Posted 1 Dec 2017 10:33 am     Reply with quote

Todd Clinesmith wrote:
To make a blanket statement of "rarely using it at all", after listening to a few songs, is pretty extreme.


Point taken.

But I am finding re-occuring grips/pockets/movements he uses from song to song.

But I do have a huge collection of his work and especially the Jazz standards he re-uses most of these moves.
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Stefan aka Bilal Khalif
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F Bebop Tuning

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Willis Vanderberg


From:
Petoskey Mi
Post Posted 4 Dec 2017 12:03 am     Reply with quote

The Alkire E Harp is a good choice for a ten string on legs.
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