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  Who created the E9th tuning, when, and why? (Page 2)

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Author Topic:   Who created the E9th tuning, when, and why?
Craig A Davidson

From: Wisconsin Rapids, Wisconsin USA

posted 02 January 2005 09:48 AM     profile     

[This message was edited by Craig A Davidson on 02 January 2005 at 09:50 AM.]

Samuel E. White

From: Greeneville TN.

posted 02 January 2005 11:17 AM     profile     
Man I never new Carl could talk that much. But Knowledge he has me beat. I have 50 years of Steel to catch up on if I want to play like these guys.HUMMMM
Sam White
Al Marcus

From: Cedar Springs,MI USA

posted 02 January 2005 08:01 PM     profile     
Ernie-I guess we should be glad that E9 came along.
I had to go from C6(E6 for me) to learn E9 to get work in the later years of my

My Website.....


From: Bethlehem, PA 18015 USA

posted 20 March 2005 05:40 PM     profile     
The next post says it better . . .


[This message was edited by db on 21 March 2005 at 08:10 PM.]


From: Bethlehem, PA 18015 USA

posted 21 March 2005 08:08 PM     profile     
Anyone here know the early "D" tunings that Jim Day used?
I am interested in knowing the progression of additions to his set-up that brought him to his final set-up.
Like, what was his first chromatic note . . . ?
Where was it located . . . ?
Second Chromatic note . . . ?
When did he add the 9th . . . ?
I am still amazed that he never added the "D" lever ( root-lower function ).
What was his technique that got him around this missing function?

Dan Balde
U-12/8&5, S-7/D 3&1, S-6/E,A & G3

Jussi Huhtakangas

From: Helsinki, Finland

posted 22 March 2005 05:03 AM     profile     
I'm sure there are others who know this better, but I don't think Jimmy tuned down to D all the time ( in the early days ). He did on Steel & Strings album, but many Ray Price cuts show, that he was tuned to E9 ( hammer-ons, open strings ). I also have some video footage from the same era as Steel & Strings, Jimmy is probably playing the same guitar than on the album and he is tuned to E.
I hope somebody will answer your other questions, since I want to know too
Charles Curtis

From: Bethesda, Maryland, USA

posted 22 March 2005 05:39 AM     profile     
If I remember correctly, and only Buddy can answer this, didn't Ernest Tubb record "Crazy Arms" in the key of "C"? And if I remember correctly and old age hasn't thwarted my memory, wasn't one "lick", A & B pedals down on the third fret and doing a pull off the first string? By having the 1st string where it is now you don't have to do the pull off. I hope this is making sense. I just thank God that Buddy came along.
Herb Steiner

From: Cedar Valley, Travis County TX

posted 22 March 2005 05:56 AM     profile     
To further confuse the issue slightly, Jimmy also used a capo from time to time, like on the "I Can't Walk Away From Myself" cut by Price.

Herb's Steel Guitar Pages
Texas Steel Guitar Association

Charles Curtis

From: Bethesda, Maryland, USA

posted 22 March 2005 03:29 PM     profile     
Let me just finish that lick. Without today's two top strings you would have A and B pedals down, the bar flat across the 3rd fret, pull off on the first string hit the second string, hit the third string and rock off the A pedal, keeping the B pedal down, then hit the fourth string. Anyone remember doing that on a D8?
Jussi Huhtakangas

From: Helsinki, Finland

posted 22 March 2005 10:20 PM     profile     
Herb, is that the slow version of "I Can't RUN Away From Myself"?? Sorry, I couldn't resist, I'm a smart a$$ !! Seriously though, I always wondered about the capo thing too ever since I learned about him tuning to D.
J D Sauser

From: Traveling, currently in Switzerland, soon to be either back in the States or on the Eastern part of Hispaniola Island

posted 24 March 2005 11:01 AM     profile     
Let's go back a little bit again:
I have always wondered what it realy was, what Bud Isaacs tried to do when he elaborated his E-to-A6th tuning.
1- Did he mean to create this change with that sond it would do in mind?
2- Or was he going for a chord change (re-tune) with one pedal and then found what sound it would realy generate?
3- Or was he trying to create a tuning that switches minor thirds for major thirds and sixth's back an forth (eliminating hawaiian style bar slants), and again later (once the guitar was strung up) found out he had a nice changing sound?

Has anybody ever talked tu Bud Isaacs about this?

... J-D.

Graham Griffith

From: Glebe, N.S.W., Australia

posted 06 May 2005 09:18 AM     profile     
I've only just got around to reading this thread. In answer to Pete Knapton's query ... yes, Zane Beck's tuning uses the outside "chromatic"(a misnomer)strings 1 & 2 in the ascending order. However, string 2 is a "C#" and is raised to "D" at the same time as the "B" to "C#" raise and to "D#" with a knee lever which also raises the equivalent of the 9th string "D" to "E".

It is usually not realised or acknowledged that Zane Beck's tuning is a "universal" tuning that precedes the now (relatively)standardised "universal tuning".

Do a search on Zane Beck and you'll discover a lot more about it in previous discussions.


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