![]() ![]() I had a conversation some time ago with Bobby Black about this.Īs I recall, Bobby said that sometime in the early 1960s, he was playing steel at the "23 Club" in Brisbane, Calif. Probably more than anyone wanted to know but that is more of its history. Its part of the tunings evolution.For me there is too much music missing without the D. I don't know any modern C6th player who has a G on top. Jernigan uses it all the time and then he tunes it back to G to play a Classical piece and "Streets of Loredo". Buddy had it on top sometime after the Black album. The more # and b9's located on the fretboard the better in that world.īuddy was definitely the first to place it there full time. So having an easily accessible 9th interval helps - both for single notes and harmony. I suspect Buddy dug what they could do because Buddy was also inspired by Jazz guitarists. Playing E9th was set in stone for Nashville players "only".Players in Vegas, Texas, Oklahoma, were pursuing pedal sounds using the 6th tuning.E9th was not set in stone across the land.Buddy was the first to put the 9th interval "D" on top of the C6th.But tunings developed by Julian Tharpe and Maurice Anderson had the 9th and the major 7th intervals within their versions of the 6th tuning. Before pedals there was mostly 6th based tunings. Everyone pursuing Jazz and emulating E9th sounds was getting there back in the late 60's.
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