198.The DADGAD tuning for 6-string guitar

We should not forget of course the very famous and well known in Irish tunes music, D2A2D3G3A3D4 tuning

https://en.wikipedia.org/wiki/DADGAD

197. WAVING AROUND THE SIMPLICIAL SUBMELODY AS IMPROVISATIONAL PARALLEL DIALOGUE COUNTER-MELODY OF THE MELODY

WAVING AROUND THE SIMPLICIAL SUBMELODY AS IMPROVISATIONAL PARALLEL  DIALOGUE COUNTER-MELODY  OF THE MELODY

If someone is searching for a fruitful and successful musical combinatorial concept of how to create fast filling improvisational counter-melodies to a melody here is the best concept

(see also post 128 and 183)

And a relevant video of two parallel melodies music


https://www.youtube.com/watch?v=OcHWvl16mpg



The remarks below about waving an improvisation across the vector-chords and around or ending on specific center-notes (also in post 183) can be enhanced by having these center-notes to be the notes of the simplicial sub- melody of  the singing melody (the simplicial sub-melody has about one note per underlying chord). Thus such a waving diatonic improvisation (or slightly chromatic waving  sometimes with the two blue notes 5# , 2# of the harmonic minor and double harmonic minor) is the  parallel dialogue  to the melody with a  more dense and filling counter-melody

REMARKS ABOUT DIATONIC WAVING AROUND THE NOTES OF ACHORD

2ND LAYER FASTS HARMONIZATIONS OF VECTOR-CHORDS IMPROVISATIONS

When improvising by "waving" or "rotating" inside the vector chord, we may also add some harmony by playing the improvisational solo as 1st-2nd voice or doubles by intervals of 3 and of course changing them to major minor 3rds so that it belongs to the scale if the roots are in  the scale or keeping it the same to the closest such that is in the scale. It can be with doubles or even triads (3-notes chords) which of course will create a fast-changing harmony which is reasonable to accompany with only stable power chord of 5 (interval of  5). Usually, the fast changing of the chords is of the chords I, IV, V (or  substituting any one of them with its lower relative minor chord. see also post 159)

E.g. here is a good example of such melodic wavings in the next midi file. It can be considered as chromatic or diatonic waving around each note of the chord but in addition, harmonized with doubles by intervals of 3rds http://www.greeksongs.gr/midis/arampasperna.mid 

We should notice that besides such "chromatic waving" or "rotating" within the closure of a triad chord in the normal position, we may have also waving ascending and waving descending or translating, if we expand the chord in two or 3 octaves. And this may be done again with fast-changing harmonization (I, IV, V)  with doubles or triads , as long as the duration of the notes outside the chords (the initial and maybe two more within the pattern I, IV, V) are less than the duration of the notes inside the chords or as long as the intervals created by the notes of the melody and the notes of the chords have more 3rds 4ths and 5ths compared to intervals of  2nds.

We must remark here that if there is a melody in the song which is say using the chords X1, X2 X3,...Xn , the melodic improvisational fillings parallel and in between the parts of the melody with instruments like Bouzouki or mandolin or violin or lyre etc , need not keep the same chord-progression X1,...Xn but a permutation of it as well ,although in general, it will use the same chords and rarely more chords but of the same notes-scale or same scale of chords  (chord-scale). 

In all cases, a variational chord progression X(a1), ...,  X(ak)  will determine as above after determining the vector-chord wavings, an improvisational solo. which has also projection trace on the arpeggio of such chords as harping ,

If we are composing e.g. in a midi editor the above perceptions are adequate for easy composition of melodies. But if we are playing an instrument and we want to improvise, then instead of having as center the arpeggio of a chord to improvise diatonically or chromatically around it it ir ending at it it  is easier to think of waving around or ending at centers that are not chords but notes that are away by intervals of 3rd, 4th, 5th 8th (e.g. the notes of a simplistic sub-melody). Thus multi-octave-scales that cover all notes of the diatonic scale and are made exclusively from intervals of 3, 4, 5 , 7 , 8 or 9 semitones are of interest and there is a special post 200 for this technique.

196. THE E2-B2-D3-G3-B3-E4 (5-3m-4-3M-4) OPEN Em7 AND THE (5-5-4-3M-4 ) FOUR INSTRUMENTS TUNING OF THE 6-STRING GUITAR AND OUD

This is tuning is probably the simplest conversion of the standard Guitar tuning to open tuning.
We simply turn the A2 string to an B2 string. Because of the D3-G3-B3-E4 part it has two rows of easy minor-major triads with 2 or 3 only frets. An advantage is that it contains at an interval of 5 which sounds good in an open chord. It is the 5-3m-4-3M-4 tuning

The next tool can calculate the chords

https://www.gtdb.org/ebdgbe




As alternative we may apply the 5-5-4-3M-4  E.g.  C2-G2-D3-G3-B3-E4 . 

The D3-G3-B3-E4  part is a 4-string Greek Bouzouki in G major

The G2-D3-G3 part is a 3-string Greek Bouzouki in Bb major

The C2-G2-D3-G3 is a bass Irish 4-string Bouzouki

The C2-G2-D3 is a low tambouras or saz.

195. TWO OPEN TUNING MODIFICATIONS OF THE OVERTONE TUNING FOR THE 6 STRING GUITAR AND OUD

The overtone tuning is the


1-1'-5'-1''-3''-5''        8-5-4-3M-3m

C2-C3-G3-C4-E3-G4

The two modifications are


1'-5'-1''-3''-5''-7''        5-4-3M-3m-3M

e.g.   C2-G2-C3-E3-G3-B3

AND
in order to have also more 5ths, we permute the last 4 strings as in the tuning of the post 194

3'-5'-1''-5''-3''-7''        3M-4-5-6m-5 

e.g.  C2-E2-A2-E3-C4-G4    which is an open Am7 tuning


Still more variations are  the 

8-5-4-3M-4 or 1-1'-5'-1''-3''-6'' OR  C2-C3-G3-C4-E3-A4 which is also open C6 chord tuning
OR  G1-G2-D3-G3-B3-E4 As this is not very practical with the type of strings that exist the next modification is more practical

and 5-5-4-3M-4 as in post 219  C2-G2-D3-G3-B3-E4. The later may not be open tuning but
it has advantages of chord-triads in the lower 3 strings

ALSO

C2-G2-C3-G3-C4-E4  5-4-5-4-3M

We may compare the above variations of the overtone open tuning with the next 3rd variation of the overtone open tuning

C2-G2-C3-G3-C4-E4  (5-4-5-4-3M)

https://www.youtube.com/watch?v=pf9-_hHFo1A

194 THE 5-6m-5 , E2-B3-G3-D4 OPEN TUNING FOR 4-COURSES INSTRUMENTS

By permuting the melodic tuning for 4-courses instruments, 3m-3M-3m  which is an open tuning we get the 5-6m-5 which is again open tuning but with intervals of 5. 
IN THIS WAY IT RESEMBLES THE MANDOLIN TUNING EXCEPT IT IS AN OPEN TUNING 

E.g. 

A2-E3-C4-G4 OPEN TUNING FOR Am7

or 

E2-B3-G4-D4  OPEN TUNING FOR Em7

193. THE PANDURI-MANDOLIN TUNING F2-A2-C3-G4-D4-A4 3M-3m-5-5-5 OF THE 6 OR 12 STRING GUITAR AND OUD

This tuning combines 3 strings that are in major or minor triad and a 5 away 3 strings that are again a 5th apart (e.g. mandocello) Or it can be in the reverse order first the 5ths then the major or minor triad. In this way both types of playing the ancient that can accompany a melody only with an interval of 5th or the modern that requires accompanying with triad major or minor chords can be played.

E.g.

C2-E2-G3-D3-A3-E4 3M-3m-5-5-5

 F2-A2-C3-G4-D4-A4 3M-3m-5-5-5

or
F2-C2-G3-D3-F4-A4  5-5-5-3m-3M

or
C2-G2-D3-A3-C4-E4  5-5-5-3m-3M

or

F2-C2-G3-D3-F#4-A4   5-5-5-3M-3m

or

Eb2-Bb2-F3-C4-E4-G4  5-5-5-3M-3m

192. SOME JONI MITCHEL TUNINGS FOR THE 6 OR 12 STRING GUITAR AND OUD

Here are some of the joni Mitchel tunings (from the book Joni Mitchel )

https://www.youtube.com/watch?v=zyDW7lslN5Y


Besides the overtone tuning of post 191, some tunis are variations produced by it

in the sense that they include a major chord 3M-3m abs is surrounded by intervals of 5 or 4

E.g.  5-4-3M-3m-4  or 5-4-4-3M-3m or  4-5-4-3M-3m  or 5-5-4-3M-3m or 5-5-4-3m-3M

etc