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Author
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Topic: Need help with E13 for 8 strings
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Patrick Newbery
Member From: San Francisco, California, USA
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posted 03 November 2004 02:12 PM
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I just acquired a beautiful 1953 Gibson Grande Console double 8. Having learned on 6 string lap steels, this is like driving a Cadillac!The second neck was tuned to E13 (I have been using/learning C6, A6, B11, E7 etc. and have a working knowledge of these, which I attribute mainly to this forum!). Is there anything out there either in tabbed music, instruction, theory or chord charts that can help me make sense of E13. Majors are easy, but after that I am lost real quick! |
Ricky Davis
Moderator From: Austin, Texas
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posted 03 November 2004 03:02 PM
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Here is Oklahoma Stomp part 1 and part 2 tabbed out in my E13 with a 9th in the middle..ha...So it's called E13+9 or E9/13.
http://users.interlinks.net/rebel/steel/oklahomastomp.html
http://users.interlinks.net/rebel/steel/oklahomastomp2.html
Enjoy.
Ricky |
Patrick Newbery
Member From: San Francisco, California, USA
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posted 03 November 2004 04:03 PM
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Thanks, I'll give it a try.Have you tabbed anything in Leon's E13: E G# D F# G# B C# E
L to H[This message was edited by Patrick Newbery on 03 November 2004 at 04:04 PM.] |
Ricky Davis
Moderator From: Austin, Texas
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posted 03 November 2004 05:47 PM
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No I haven't tabbed anything in that tuning; mainly because I hate that tuning and will never put on any of my Hawaiian Steels....
I think Scotty has some instructional stuff for that tuning.
Ricky |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 03 November 2004 08:30 PM
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Don Helms book of Hank Williams songs is excellent! You can get it from Scotty's web site. I see there's a Little Roy Wiggins book for E13 on the same web page. |
nick allen
Member From: France
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posted 04 November 2004 12:46 AM
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However, be aware that both the Don Helms and Roy Wiggins book use the E13 tuning with a G# on top - essentially the standard C6 tuned 4 semitones higher.
My first ever post on this Forum, lo these many years ago (1997? 1998?), asked the same question, about the availability of teaching materials for the "Leon" E13. There was none then, and I'm not aware of any having appeared in the meantime. Cindy Cashdollar told me to just fool around with it until you find something that sounds good (I'm simplifying drastically here, but that was the essence of it...  )
Nick |
Patrick Newbery
Member From: San Francisco, California, USA
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posted 04 November 2004 08:00 AM
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Thanks for all the good input.Ricky, do you hate the leon E13 for musical reaosns or is there a story behind this? [This message was edited by Patrick Newbery on 04 November 2004 at 08:00 AM.] |
Rick Aiello
Member From: Berryville, VA USA
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posted 04 November 2004 08:22 AM
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I betcha its due to the inherent "Just Intonation" issue of having the F#, B and C# ... all present.The F# will clash with the B if it's in tune with the C# ... and vise versa. No way to get this E13/9 tunin' beatless ... ------------------
My wife and I don't think alike. She donates money to the homeless and I donate money to the topless! ... R. Dangerfield
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Rick Aiello
Member From: Berryville, VA USA
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posted 04 November 2004 09:12 AM
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Oops ... guess not ... Since Ricky is using a different variation of E13/9 in that "Oklahoma Stomp" tune ... which still has the same JI "issue" ... Sorry, I just know from reading his posts .... Ricky is a big proponent of tuning via Just Intonation.
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Ricky Davis
Moderator From: Austin, Texas
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posted 04 November 2004 10:54 AM
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WEll that's a good question.
I don't like the tuning because of the amount of tones between the D and F# and also between that low G# and D.
I think of my tunings like a stratigic map of going from here to there in a productive route and not having to jump from Texas all the way to California; when you can go Texas/N.M./AZ/CA....ah..ha...
I don't mind the F# and it's "tuning out the beats" flaws with both the B and C# in an open tuning. When using the F# in single note lines; that's a piece of cake to move the bar in and out of both infringing notes. As to me it's more important for the F# note to be in tune as a 5th tone to that open B chord as it is to be the 6th tone in an open A chord; Because a 6th tone will blend in a chord being a smidge sharp in beats; than a 5th tone would, being a smidge flat in beats. I always opt. for a note to be sharp as opposed to Flat every day of the week. Sharp ads excitement and tension and flat adds Death..ha.
Ricky[This message was edited by Ricky Davis on 04 November 2004 at 11:13 AM.] |
Jeff Strouse
Member From: Jacksonville, Florida, USA
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posted 04 November 2004 05:10 PM
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Thanks Ricky! I've always wondered about the difference in the E13ths. |
Andy Greatrix
Member From: Edmonton Alberta
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posted 04 November 2004 06:40 PM
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The tuning intervals I like for an E or C 13th is
G# -3
E -1
C# -6 (13)
B -5
G# -3
D# -2 (9)
E -1
D -b7It works for me.
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John Bechtel
Member From: Nashville, Tennessee,U.S.A.
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posted 04 November 2004 08:03 PM
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When I tune my E9/13, Lo to Hi: E–D–F#–G#–B–C#–E–G#, I first make sure that strings #1 through #5 are in-tune. Then I use my thumb-pick, struming backwards and letting them ring/sustain; and then hit the F# and adjust it between a match with the B and C#. That's the beauty of the tuning. You'll hear it as soon as the blend is there! Then I tune the (D) to the F#. Here is how I would do it with a Chromatic-Tuner reading it in Hz: - - - - - - - -
G# = 336Hz
E = 440Hz
C# = 436Hz
B = 440Hz
G# = 436Hz
F# = 438Hz
D = 440Hz or 442Hz
E = 440Hz
If you don't like E9/13, then I guess C-Diatonic would be completely 'out of the Question'¡¡ :------------------
“Big John” Bechtel
(2)-Fender ’49–’50 T–8 Customs
Fender ’65 Reissue Twin-Reverb Custom™ 15”
click hereclick hereclick hereclick here
[This message was edited by John Bechtel on 04 November 2004 at 08:07 PM.] |
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