Al Marcus'

Steel Guitar Web page

page 7

I wrote this article which was published in the August 2002 edition of the P.S.G.A. newsletter. Thanks to Bob Mackiel for permission to use it here.

Six of these strings contain the same notes as on the E9th tuning. You can even use a set of E9th strings. Just substitute the low E for the 10th string. Since strings 5 and 6 are lowered, you might want to use a heavier gauge on those. Pedals 5, 6, 7, and 8 and knee lever LV are equivalent to the same pulls as on the C6th.

LL is E7th-9 and when combined with RL gives the same change as pedals 7, EMaj7th-9. By using LL and RR together, you can put your foot on pedals 5 and 6 without using both feet with pedal 7. What we did was move the old pedal 4 on C6th to knee lever RL. Knee lever LR gives us an Amaj7th and an A7th with pedal 6. RR gives EMaj9th also gives F#7th, with pedal 5,  for songs like Satin Doll, and RR with LR gives a full A6th, subdominant, with Amaj7th available on the 2nd string. LV is EMaj7th just like the old C to B change on C6th, LR gives a nice dissonant A maj7th chord.

You can still play all the tablature and lessons you might have for C6th, it will just be in a different key! You will have to transpose, but this should be second nature to a competent steel player/musician!

For E9th players and guitar players, E6th is much easier to learn than C6th as most of the notes are the same as E9th and the bar positions are the same. The key of G is on the 3rd fret of E9th and E6th. The A and B pedals down on the E9th at the 3rd fret gives us a C chord and the LR and RR together, also gives us a C chord at the 3rd fret, OK?

Pedal 4 is a flatted 6th tone [common C6th change], with LR and RR it gives us an Am6th. It also works well with pedal 5 next to it, which then provides a suspended chord, [Chalker style] and also a C Augmented 7th. I've found that the E6th has a brighter tone too. These pedals are arranged for the most efficient use on most jazz and pop type songs.

As Jeff Newman suggests, I think pedal 8 should be on Pedal 4 right next to Pedal 5. A lot less foot moving. If you want to make an exact change, just use the pedals and Knees as they are on C6. Just put a new set of strings on for E6 , 4 1/2 tones or frets higher. All the C6 pedals will work just the same only the sound will be E6.

If you have any questions, send me an e-mail.

The Lean and Mean, 10 string Tuning

I have a a couple of requests to post one of several All in one Universal tunings for 10 string and 12 string. Here is one I call "The Lean and Mean" 10 string tuning that requires no lock, and it is all on One tuning. It is a combination E9, E6th, and E13th.

An E9 set of strings can be used. The 2nd string D# will be on the 4th string now as a C# but pulled up to a D# on a knee lever when needed.

LL could be used as bowah without low note. LL is your Standard F lever. LV is like sacred tuning E7 also the D on 9th string.

P1 and P2 are your basic E9 pedals. P3-4-5 are just like C6, 5-6-7. P5 used with P1 same chord as E9 P3.

RL is your standard Eb lowers same as E9. RR very important, takes the place of your D# 2nd string on E9 AND gives a major 7th to be used with pedals 3 and 4, leaves foot free for the volume pedal most of the time.

You can put this on a S10 or on the C6 neck of a D10. Or even a S12, add G# on 11th string and E on the 12 string, almost like an Extended E9.

This tuning is resembles in many ways the new Sacred E7 tuning, and also the one that Buddy Emmons has been experimenting with on his Carter S12.

I use a S12 tuning like this with 3 more floor pedals. I use one to get the Jazz bottom. And the other two to get whole tone drop on string 5 and 6, the 3rd and 5th. I use this a lot with P3 and P4...al

If you have a guitar with 12 strings and 8 pedals, you could try:

My E6-E9-E13 "Real Universal" 12 string tuning:

P 1 & 2 is E9, plus LLK & RRK. LLK is also Boowah for E6.

P 7 is A6 and Amaj 7th bottom.

LRK & LVK is A6 with P7.

LRK is F# 7th with P4.

LVK is A7th with P5.

P8 is E7th , Good for both E9 and E6 playing. Also is Augmented with P4.

RLK is Emaj7 can replace the 2nd string on E9. Works with P4 & P5.

If a player wants to put the F# between the 7th and 8th string for more E9 playing, he can take out the 2nd string D# and still get that note on the RLK and move to C# just like the Knee does on standard E9 tuning. You don't lose ANY E9, and gain E6, all on one neck, with no need to hold a lever in like on E9/B6. This is what I call "The Real Universal", with NO compromises. Easier for an E9 player to switch to 12 strings without losing his E9 technique. already developed. IMPORTANT! Bar positions on E9 are the same as Bar positions on E6. ie; G is on the 3rd fret for both E9 and E6. The LRK and LVK whole tone drops are the same as The Paul Franklin 4th pedal. If you want, you can swap the RRK with the LRK, so both LLK are standard Emmons setup. I will be glad to provide more information to anyone who wishes to correspond.

Here's another article that I wrote for the PSGA newsletter, this tuning gives you a little bit of "Country", and a lot of "Blues and Jazz" stylings.

"Lean and Mean" E6th/E9th Tuning with 5 and 5

P5 is E7/9, plus is used for Sacred tuning. Use it with P1 and 2. P5 also is used with P3 for an Augmented chord. P3 is F#7-9th. P4 isEmi6 and 9. P3 and 4 is E diminished. RLK is Emaj7 or Bmin7. Use it withP4. LVK is used as aug. with P3. LLK and LRK are standard E9th knee levers. But both can be used for E6 too. LLK is C#7, also can be used as the"Boowah" pedal.

This is a very potent tuning for an S10 with 5/5. There is nothing that can't be played musically with it. It does take an adjustment with grips, etc. Every country "lick" you hear cannot be played on this tuning, but 95% can be played. You might replace that LVK with the 6th string, G# down to F#, but for jazz, I think the C# to C is more important.

If you have any questions, or comments about the tunings above, I'll be happy to try and answer them. Just click on the link below to send me an e-mail.

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