Master of Touch & Tone" Record TUNINGS

J D Sauser · From: Wellington, Florida

As most of us will own this record of Jerry Byrd (published by Scotty), I am wondering if some have been able to positively identify the tunings the Master used on all 10 songs?
If so, I would appreciate your posting because at some places He really leaves me "stumped"

(which probably was His intention anyway

)

Also do any of you close to Him know if he has also published tablature (although I don´t really like tab) about his more recent work (post Nashville)?

Thanks! ... J-D.

C Dixon · From: Duluth, GA USA

VERY good questions dear friend JD. I too would like to know.

I would like to add that Jerry is such a master as to achieve a sound and/or tone on any of his tunings that just simply blows me away. An example is when he uses his E tuning on tunes like "I'll Be All Smiles Tonight".

There is NO way I can get those phrases on this tuning. NO way. Yet I can sit right beside him or view him playing it on Video. And I HEAR those sounds coming out of his amp.

His subtle and mastery of blocking is surely one of the "keys" to his unprecedented talents of being able to do on a lap steel what many of us still can't even achieve on PSG! Yet he has soo many others "keys" to his mastery.

He is without doubt not "of" this universe.

when it comes to the steel guitar.

May God richly bless this man, also you JD (along with your precious wife and children); and all the rest of you,

carl

Jesse Pearson · From: San Diego , CA

I really like JB's work with Hank W, I wish there was some tab on those recordings. I guess he used C6/A7 for alot of those songs, but does anybody know what other tunings he might have used with Hank? Thanks

Warren Slavin · From: Southampton, PA, 18966. USA

Hi --

Jerry Byrd has tablature on about everything he recorded (perhaps not for some back-up and sit-in sessions). All you have to do is send him an envelope (preposted and addressed) and he will send it to you. Most guys put in a couple of dollars for his trouble. His lists give you the tunings he used, six or eight strings and the price of each tablature. When you order, he suggests that you order a minimum of twelve (12) numbers. I have the lists and I don't think I have them all -- over a couple hundred.

Also, I think Scotty in St. Louis has the same lists for distribution, I'm not sure.

Good Luck !!

Warren

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Jesse Pearson · From: San Diego , CA

I have JB's catalog and I have never seen any of his work with Hank in there? Does any one know what tunings he was using for those sessions? Was JB's diatonic tuning around when he was recording with Hank? Thanks

P.S. There is three songs in JB's catalog that he did with Hank, but Don Helms covered two of them in his book. It would be great if someone could come up with a master list of JB's albums and the tunings used for what song. There is alot of Hawaiian stuff, but hardly any C&W stuff. Thats a real shame. I am amazed at this?

[This message was edited by Jesse Pearson on 22 March 2003 at 11:27 PM.]

Jack Byrd · From: Kalamazoo, Michigan

I will see what I can find out from Jerry.I don't have a strong inclination he can answer these types of questions for the reasons stated below. His catalog does list the tuning for for each song that he has tabulature for and it is over 200 songs.

As far as his backup work with various artists, I can tell you that it will be impossible for him to be able to tell what tuning he used on those for various reasons. Much of that single work was done many years ago. He does not have the recordings to listen to anymore. It would be hundred's of records which he does not have in his possession and many of them he never had in his possession. Jerry has often told me that what he played on a particular day was what he "felt" for that song on that day. He may play the song one way one day and another way the next day. He also told me this. On many occasions he was told by the record producer "we have heard this JB style on so and so's record and we want to hear something different". On occasion he would record the same song with two or three different artists all with different back up on them. He also would leave the session with at least two different renditions for the producer to pick from for many of the recordings. He related this was necessary often back at that time if you ever wanted to get a call back. He often said you can't play the same vamps, licks, intro's, etc. time after time and expect to get a call back. You might get the second one but never the third one so he would do something different from recording to recording for that very reason.

So for him to remember what tuning he used on any particular record is impossible for most of the very old stuff from the 40's to the 70's. He just made way too many recordings with over 200 different artists to be able to recall them. Many of the recordings he never even had a copy of them. He can't even remember all the artists he recorded with leave alone the tuning. So that will have to remain a mystery to all of you I guess. Now don't think that he is withholding information. For those of you who really know Jerry know that he doesn't do that, he tries to answer every question put to him if he can.

Recently a fan asked him if he ever recorded with a certain artists. Jerry told him no I don't remeber that I did. The fan, also a friend sent him a tape of the recording. You got it, it was Jerry. This I related so that you all will understand the complexity of a question asking what tuning he used on this or that recording. He doesn't have the recollection to answer the question or the recording to listen to.

C Dixon · From: Duluth, GA USA

"Jerry has often told me that what he played on a particular day was what he "felt" for that song on that day"

And "that" is an ingredient that most greats have. One of my dearest friends, Mac Atcheson has that talent. You can stop him right in the middle of the most awesome phrasing you ever heard and say,

"Mac SHOW me what you just did!" And he can not do it! The reason is. The moment is gone. He played what was in his heart at that moment. In fact that is why what he played was sooooo incredible I believe.

It is the total reverse of what some do (I am the worst). I play the song the SAME way every time. And back up with the same ole licks every time. With few exception.

But not the greats. They feel it at that moment and it comes out of their amp. They also make the best studio musicians, irrespective of whether or not they are the best at their respective intruments.

Ray Charles proportedly once said, "Buddy Emmons gets into my mind and plays exactly what I wanted to hear". Or words to that affect.

This is why these two players (and others of course) hold the prestige that they do.

May Jesus continue to bring joy to JB, RC and BE, and all of you,

carl

Ray Montee · From: Portland, Oregon (deceased)

If my recollection is anywhere near accurate,
JB told me his first record session using the Diatonic Tuning was on Ferlin Husky's "Next to Jimmy". This was after the Elvis Presley years of extinction for most steel players of that era. He also used it early on with "Ernest Ashworth" and his own album of Memories of Maria. Don't quote me!
I do believe that H. Williams' record sessions were with the old reliable C6th/+7th.

Jesse Pearson · From: San Diego , CA

Robert Johnson was reported to keep working on a song till he was satisfied and then would always do it just like that. George Harrison is a another. But then, they weren't doing alot of studio work, if any. Surely, someone besides JB can say what tunings JB used on his most famous songs with Hank W. Who amongst you is such a steel player?

Jeff Au Hoy · From: Honolulu, Hawai'i

Jesse Pearson · From: San Diego , CA

Thanks Ray, you are a scholar and a gentleman. I posted while you were posting. Thank you...

[This message was edited by Jesse Pearson on 23 March 2003 at 09:29 PM.]

Ray Montee · From: Portland, Oregon (deceased)

Jesse, thank you for the kind words.

If you'd care to post the specific tunes you're aluding to, I'll attempt to be more
confident in my response. "I'm So Lonesome
I Could Cry" and "There'll Be No Teardrops Tonight" or the two prettiest, IMHO, that come to mind.

If I can't, Kenny Dail, C.Dixon, or others might very well be able to do it for you.

What a few of us lesser smart folks weren't aware of, is how JB (and others), often changed tunings for but a single song, on stage or on a record. For Jerry, it became a requirement for you to LISTEN FOR that old Rick "MOAN" and "TONE" in order to be certain if it was JERRY. Billy Robinson at the time played a lot of JB sounding material
but he had a different "sound" and GREAT IT WAS!

In the olden days, we were often able to identify the "player" by the TUNING you could hear quite easily but JB was up there all this time, changing one string or another
to get the effect he was seeking. Those were exciting days, when you could actually tell WHO was playing and in WHAT tuning.

If I can help, let me know.

C Dixon · From: Duluth, GA USA

My dear friend Ray,

Jerry did indeed change tunings often. He does it now when he performs. He will often raise his bottom C to a C# if a particular tune calls for it. And then just as quick, return it to a C for the next song. As well as change the entire tuning if needs be. And has been known to change a given string's tuning in the middle of a song!

But the most awesome thing of all is HOW he changes the tuning. NEVER seen ANY one do what he can do soooo effortlessly. He simply walks down the string one at a time, bringing them into perfect tune (to my ears) and rarely readjusts them as many (including myself) do.

It's as though he knows and hears exactly when a given string is precisely tuned to what he wants it to be; negating him having to retweak one or more strings. What an awesome talent our Precious Savior has bestowed upon this man.

Finally Ray, I have a problem concerning Jerry's diatonic tuning. Here is why; On Jerry's HI-FI album which was recorded in the 50's, Jerry's rendition of Boudleax Bryant's "Come a Little Closer" used his diatonic tuning.

I can almost swear Ferlin Huskey's* "Next to Jimmy" was recorded in the 60's. I could be mistaken however.

carl

* For those of you that are not familiar with "Next to Jimmy", it is considered by many, to be THE greatest turn-around ever recorded on a non pedal steel guitar. In fact it is so incredibly beautiful, many have mistakenly believed the steel had pedals!!

Jeff Au Hoy · From: Honolulu, Hawai'i

Jack Byrd · From: Kalamazoo, Michigan

As Carl has said Jerry can and has changed tuning in the middle of a song. One evening when he was playing At The House Without a Key with Hiram Olsen and Kalani Fernandes during the chorus they were all singing, Jerry completly changed his tuning. He knew the song well enough that when they sang a note he needed in the tuning he would crank the key right to it and then to the next one and so on. This was a first for Hiram. He saw what Jerry was doing. During the instrumental portion of the song he would give a "Shee" type sound when something Jerry was doing would blow him away. After the song he asked Jerry did you do what I think you did in the middle of that tune and just shook he head in amazement.

Now if someone where to ask today what went on it would be "well I started out in this tuning and ended up in this one. They would think he was blowing smoke, but that is the way it goes with him at times folks.

Kenny Dail · From: Kinston, N.C. R.I.P.

My memory is not as good as it used to be but, somewhere along the way I was led to believe that the entire album, "Adamirable Byrd" was done the the 8 string E9th tuning. This is the pedal steel E9th without the chromatics and/or any pitch altering mechanisms. Forward and reverse slants are employed along with the "split lick" technique and are very obviously used on "I'll Be All Smiles Tonight" as well as the other songs.

I believe the album, "Master of Touch and Tone" has some inf re tuning and type of steel used for the session in the liner notes...I will check it out and get back to you on this. Perhaps someone else on here can clarify any mis-information voiced here. Any input by a more reliable source would be appreciated.

------------------
kd...and the beat goes on...

J D Sauser · From: Wellington, Florida

The song I prefer is "Carefree" (#2 on that record [CD]). I have a video taping of him playing it on a JB-Sho-Bud Frypan (8 string) on a TV show. No re-tuning apparent. Still, I don't even get the intro right

(can't see it on the screen either

)

On the first selection "Anytime, Anywhere" he almost seems to use a "strum tuning" (intro).

No 3, "Mona Chimes" is beautiful and seems quite playable on the tunings I would know.

No 4, "Chickadee" has, along "Black & White Rag" (No Cool

probably been a surprise to many as it's plaid on a National accustic. I love it but I dont play these instruments much and electrics seem to have too much sustain for that type of music (at least mine

).

No 5, "Nightime" is beautiful again and also plaied in a way where I would believe to be able to find out most on a C6/A7 tuning.

No 6, "Maui Waltz" is one I suspect to be be E9th.

No 7, "Forever and Ever", has again that post Nashville J-B mistique that I just love too much but that makes some things really so hard to recognize.

No 8, "B & W Rag". I wished most "Dobro"-palyers would rather play like this

.

No 9, "Ho'i Mai". Again, that mystique... question marks all over... chords... and a "suspended" feel that begs for resolution but just leads up, a level higher...

No 10, "Jerry's Tune". Well, it's says it right there, it's HIS... so I won't try to steel that one from him

.

Thanks for your coments so far! ... J-D.

Al Marcus · From: Cedar Springs,MI USA (deceased)

Back in the 30's , in order to play various styles of songs, we had to change our tunings on the old 6 string. Here is how some of us did it. Jerry was the master at it.



E       


c#      C    B   C


A            G#        B     G#       G#    


F#      G              G#


E


c#      C    D   D           D





A6      C6   E7  D9th  E6    E13 sound C#min

So just by changing two or three strings you had a variety of tunings to play certain songs that call for it.....al

[This message was edited by Al Marcus on 30 March 2003 at 10:08 PM.]

Jeff Au Hoy · From: Honolulu, Hawai'i

Vernon Hester · From: Cayce,SC USA, R.I.P.

Here is "Admirable Byrd" Info:
"Seven of this fine collection of instrumentals were written by Jerry. Steel Guitar fans will be surprised to find all but three are played in the old E7th tuning, a new experience and a new sound for Jerry,
Chet Atkins " source Album SLP 18014
"Faded Love" " Chime In" C6th tuning, "Steeling the Chimes" same tunig as "Bryd's Nest" C6th with G (4th) lowered to F# Vern

[This message was edited by Vernon Hester on 12 April 2003 at 12:57 AM.]

Kenny Dail · From: Kinston, N.C. R.I.P.

Thanks Vern....

------------------
kd...and the beat goes on...

John Bechtel · From: Nashville, Tennessee, R.I.P.

Way back on this post, concerning the song "Next To Jimmy" which is in my presious Jerry Byrd collection, I must agree that to the best of my knowledge, it was played on the C6 tuning! The very first tune that I learned on the C-Diatonic was "Come A Little Closer", followed by "Serenade To Naloni", Waltz Tropical", Danny Boy", "Stranger On The Shore", "Cold, Cold Heart" and my own version of "A Legend In My Time". (which I'll never be!) I'm still working on "The Waltz You Saved For Me"! Everything I've learned has been only by listening. I'm not at all fond of "tab" for any of my efforts! But, I must say for non-pedal or psg, my favorite of all tunings is C-Diatonic, whether on 7,8,or10 strs. "Big John" http://community.webtv.net/KeoniNui/BigJohnBechtels

Bill Leff · From: Santa Cruz, CA, USA

Thanks Al, very nice. One question though regarding the E7 tuning shown there. If I read it correctly, the full tuning would be:

E
B
G#
G
E
D

The G natural seems odd. Do you just avoid playing that string when playing in major tonality?

I could see that G might come in handy for E minor or G6 (avoid the G# in that case).

Thanks
Bill

Bobby Lee · From: Cloverdale, California, USA

I think you misread the chart, Bill. The G should be an F#.

Bill Leff · From: Santa Cruz, CA, USA

You are correct b0b! Guess that makes that E7 more like an E9 though.

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