Here is my E13#9/F String Gauge Chart for 22.5″ Scale Length Lap Steel Guitars.
The biggest challenge was finding the right gauge for best sustain on the Bottom end after the 12th fret but still remaining clear when playing below the 12th fret and avoiding the “MUD” sound.
I really like the Options finally as it offers very crisp pedal sounds due to string tension while offering a smooth mellow sound with a simple roll of the Tone Knob.
Here is a song from back in the day
E13 is really starting to make sense with 2-5 progressions so thought I’d try the proximity technique for Giant Steps using close voicings.
So after lots of study and practicing voicings.
Starting to understand and build my repertoire.
Finally Discovered the fluidity and close voicings. Some great applications can be found by Master players like Buddy Emmons or Tom Morell.
In looking at the way they approach voicings they seem to love the close, quartal voicings whether Buddy is playing C6th or Tom on E13.
Those pesky 9ths really shine and start to bring it together.
Raisin the Dickens is a perfect example of how to apply those 9th’s
and also Pretty much most of Tom’s later recordings with the Timewarp Top hands man he connects it so fluidly makes you want to cry.
So for the E13 players if you aren’t grabbing those 9ths you are missing out.
Buddy even changed his C6th to have that 9th on top rather than a 5th as did Reece Anderson. – Its starting to all make sense. – Their 9th on top is the same octave as our low E13th 9th so use it.
Remember Keep Steelin’
So learning Steel Guitar is an interesting challenge with a learning curve like any other instrument.
What’s interesting is you can tune it to a chord that has at least a major chord in it and crank out a blues 1-4-5 progression in less than 10 minutes from the very first stage.
This is where most players go WRONG. Then they get stuck in a rut so everything they play is blues and before they know it that is ALL they can play. They’re technique was never focused on so they lather on the effects pedals thick and crank up the distortion. Then after that they waste years buying and selling lap steel guitars with not much knowledge about the instrument and focus on how good the timbre of the distortion sounds against they’re sloppy playing.
How do I say this. Cause THIS WAS ME at one point.
Just a quick google/YouTube search and you’ll get the jist of what I’m saying. There are tons of blues players out there that don’t play the blues because they choose to but rather play it cause that’s all they can play on their instrument.
Now I believe there are many ways to learn an instrument but nothing beats learning the language of music.
Once you start your journey don’t look for shortcuts and distorted gains. Try and play clean , slow and know what you are playing.
“Over time it’ll pay off. ” I tell myself this all the time.
So embrace the journey enjoy the steep curve and maybe one day we will meet at the top of the mountain and if we play blues it’s because we want to and not have to.
So I love the progression and the nuances and challenges of the song. Lots of options. Trying to strum more varied and wider voicings. I have been studying some jazz sus4 voicings so had to throw them in and the theory works well. Thankyou Mark Levine.
Some mistakes but this is a rough draft. Loads of full chords on my E13#9/F Tuning. Enjoy. Still discovering E13 and loving it.
Here is a short practice video
Just practicing some voicings on All the things you are. Thinking about using some flat 9ths in there as well for more dissonance.