C# Minor Tuning ?

Bob Snelgrove · Post by **Bob Snelgrove** » 5 Nov 2001 2:15 pm

Hi Gang,

I spoke with Bud Tutmarc today and he said he uses a C#m tuning:

E C# G# E B E

Did I write this down right?

Thx

Bob

Post by **Brad Bechtel** » 5 Nov 2001 2:21 pm

Sounds right to me, assuming you're talking from treble string to bass string. That's open E tuning with the high B tuned up a whole step.

E
C#
G#
E
B
E

I tend to write my tunings the other way, from bass to treble:
E B E G# C# E

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A web site devoted to acoustic & electric lap steel guitars

Bob Snelgrove · Post by **Bob Snelgrove** » 5 Nov 2001 2:28 pm

Thanks, Brad

He said this was Sol Hoopi's tuning.

Can you suggest string gauges?

What would be some benefits of this tuning?

thx!

Bob

Post by **Brad Bechtel** » 5 Nov 2001 5:35 pm

It's possible this is a tuning that Sol would have used. In those days the most common tuning was low bass A (bass to treble) E A E A C# E. Tune the fifth string up a whole step to B and tune the third string down a half step to G# and there you are.
I'd use any set of regular gauge electric guitar strings - .013 to .056 should do fine.

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A web site devoted to acoustic & electric lap steel guitars

mikey · Post by **mikey** » 8 Nov 2001 9:52 am

I have a list that I got from John Ely's website...it has every note and recommended string gauges...find that page and print it out...I have found that list extemely valuable over the years...and you may want to use C#m9 instead C#m,with that new D8, E-C#-F#-E-D-B-E...altho depending on your style...I used C13 and B11 on My D8..Till it was F***ING STOLEN...(tweed case), but I played mostly Hawaiian gigs at the time...If I had a C&W gig I'd use C13 and E13
Mike

Herb Steiner · Post by **Herb Steiner** » 8 Nov 2001 10:33 am

Coincidentally, I just finished an arrangement (and a talk-tape) of Sleep Walk in the original C#m tuning, and it sounds pretty close to the timbre of the original recording.

From low to high:
E G# B C# E G# C# E

This tuning is interesting and makes more sense to me than Speedy's/Herbie's F#9 tuning (with the higher pseudo-chromatic strings on 7 and

.

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Texas Steel Guitar Association

Erv Niehaus · Post by **Erv Niehaus** » 8 Nov 2001 12:13 pm

I used to play a similiar tuning quite a bit. It was called the C#m7th tuning. It had a B below the high C# and went E-C#-B-G#-E-B-G#-E. This worked out very nicely and the E-C# allowed some nice ting-a-ling effects ala Roy Wiggins.
Erv

George Keoki Lake · Post by **George Keoki Lake** » 8 Nov 2001 3:19 pm

Sol did in fact use the C#m tuning for the majority of his recording career. Dick McIntire, on the other hand was often inclined to use F#9 on many of his recordings. Of the two, (C#m or F#9), I prefer the F#9 whenever I play a 6 string guitar. (From hi to lo: E C# G# E A# F#). Sol and Dick also used the D9th. This was the favored tuning of (the late) Merle Kekuku. And yes, I'll confirm Bud definitely uses C#m...he has seldom deviated which probably accounts for his nice tone and technic. He is a proven case of sticking to, and learning thoroughly, one tuning instead of constantly searching for that elusive "perfect" tuning. Also, I have never seen Bud play an 8 string steel..always plays a 6 string. He's from the old school. Not too many of us left, (although, unlike Bud, I do play both 6 and 8 string).

Bob Snelgrove · Post by **Bob Snelgrove** » 19 Nov 2001 5:55 pm

Hi Guys

I'm still trying to figure out this tuning. Why use 3 E notes out of 6 strings and only 1 third, fifth, and sixth?

More importantly, how would you extend this to 8 string without compromising the spacing intervals or whatever it is that makes the "Tutmarc" sound?

thx

bob