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Sunday, March 31, 2019

176. THE IONIAN-LYDIAN-MIXOLYDIAN 3-BOUZOUKIs, 9-STRINGS TUNING 5-4-4-5-4-4-5-4 OF THE 12-STRING GUITAR for melodic improvisation accompanied by intervals of 5

This tuning again for melodic improvisation of the old centuries  where fast dancing melodies are accompanied by intervals of 5 (power chords) rather than modern triad chords (major-minor). When melodies are accompanied by isocratic intervals of 5 they are more free to move fast and in complicated ways inside the scale (changing modes e.g. from major to minor and other modes possibly fast) , without having to change their sounding simple accompanying harmony.

In this tuning compared to the previous in posts 160-175 , we abandon comply the requirement that there are in the strings possibilities for many easy major-minor triad chords with 1 or 2 frets. Instead we concentrate in the ability to accompany with the standard power chords of the diatonic scale which have roots in the I-IV-V of the diatonic scale (major mode), that is Ionian  mode, Lydian mode and Mixolydian mode. O r with the ionian mode of 3 different scales but consecutive in the wheel by intervals of 4 (or 5).

In addition we prefer the sound of the solo string to be from  single strings, while the accompanying interval of 5 from double strings. Therefore the tuning utilizes only 9 of the 12-strings of a 12-string guitar as follows



(G2:D3)-G2-(D3:A3)-D3-(A3:E4)-A3


Somehow this tuning is as if 3 Bouzouki of 3 courses (G-D-G) (D-A-D) and (A-E-A)  , or more exactly 3 Balalaikas.


As alternative, we can have the

(G2:G2)-D3-G3-(D3:D3)-A3-D4

(5-4-4-5-4)


or even 


(G2:D3)-D3-G3-(D3:A3)-A3-D4

Now we have only tow Bouzoukis, but we can also have the intervals of 3m, 3M on its last two strings.

If we want  also double strings for the solo then it should be


(G2:D3)-(G2G2)-(D3:A3)-(D3:D3)-(A3:E4)-(A3:A3)
or 

(G2:D3)-(G2G3)-(D3:A3)-(D3:D4)-(A3:E4)-(A3:A3)









Alternatively we may utilize the next slight variation of the tuning so that each triad of strings are not two interval of 5 but a genuine power chord .In other words not G2-D3-G2 but G2-D3-G3 

So in order to account for the existing strings and their tension the tuning fr this 9-string guitar from a 12-string guitar becomes

(D2:A2)-D3-(A2:E3)-A3-(E3:B3)-E4
OR

(C2:G2)-C3-(G2:D3)-G3-(D3:A3)-D4
(5-4-4-5-4-4-5)

                                                                          

Notice that the strings 
(C2:)-...-(G2:)-...-(D3:A3)-..
is already a mandocello
While the strings 
(:)-C3-(:)-G3-(:)-D4
Also i  the mandocello (they are a 3-courses tambouras) but one octave higher.
and also that the strings (D3:A3)-D4 are already an Irish or Greek 3-courses Bouzouki. Similarly the  (G2:D3)-G3 and (C2:G2)-C3.


(Notice that the last 4 strings G3-(D3:A3)-D4 is already the Irish bouzouki in single strings , while the last 3 ,(D3:A3)-D4 the Greek 3-course Bouzouki. The range is from C2 of the cello and mandocello till the Bouzouki)


THE LATER TUNING ALLOWS TO PLAY IN MELODIES THE PARTS OF THE MELODIC THEMES OF INTERVALS OF 2 OR 3 HORIZONTALLY WHILE SΗIFT THE MELODIC THEME BY INTERVALS OF 4, 5 OR 8 VERTICALLY (FOR MELODIC THEMES MUTATIONS). IN TOTAL I FIND THIS TUNING VERY CONVENIENT FOR MELODIES IMPROVISATION.

EITHER WITH FINGERNAILS OF PLECTRUM ALL STRINGS CAN BE PLAYED SEPARATELY EVEN IF THEY BELONG TO THE SAME PAIR OF STRINGS

THIS TUNING ALLOWS ALSO FOR NORMAL FORM MAJOR-MINOR TRIADS USING ONLY 2 FINGERS  WITH ONLY 2 OR 3 FRETS (e.g.on the consecutive strings G3-D3-A3).



  ALTERNATIVES ARE AGAIN POSSIBLE E.G.

THE MANDOCELLO-OCTAVE-MANDOLIN TUNING


(C2:C2)-(G2G2)-(D3:D3)-(A3:D3)-(E4:E4)

(5-5-5-5)

OR THE CONSECUTIVE BOUZOUKIS


(D2:D2)-(A2:A2)-(D3:D3)-(A3:A3)-(D4:D4)

(5-4-5-4)

175 .THE IONIAN-AEOLIAN-MIXOLYDIAN A2-C2-E3-G3-D3-G4 3m-3M-3m-5-4 TUNING , SLIGHT MODIFICATION OF THE HARMONIC TUNING OF THE 6-STRING GUITAR AND OUD

(SEE ALSO POST 90 AND 164) 

A2-C2-E3-G3-D3-G4  3m-3M-3m-5-4 (privileged scale C major)

or 

B2-D2-F#3-A3-E3-A4  3m-3M-3m-5-4 (privileged scale D major)

(For 53 cm scale length children guitars)

ALSO NOTICE THAT THE ISOCRATIC INTERVALS OF 5 THAT ACCOMPANY FAST DANCING FREE MELODIES ARE THE A2-(C2)-E3  , C2-(E3)-G3G3-D3-(G4) THAT ARE THE IONIAN  AEOLIAN  AND MIXOLYDIAN MODES  C MAJOR SCALE.



For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

G2-Bb2-D3-F3-C3-F4

with privileged scale the  Bb major or 


F#2-A2-C#3-E3-B3-E4

with privileged scale the  A major or 

E2-G2-B3-D3-A3-D4

with privileged scale the  G major or 

The above tuning seems to be one with the almost maximum number of possible accompanying intervals of 5 which also allows for (here at least 2 rows) of easy 1 or 2 frets major-minor triads

It can be considered also a minor triad panduri in lower 3-strings consecutive higher  at an interval of minor 3 of a 3-courses Bouzouki

174 THE 5-3M-3m-5-5 TUNING F2-C2-E3-G3-D4-A4 OFTHE 6-STRING GUITAR AND OUD

This is the tuning


F2-C2-E3-G3-D4-A4  (for a children's 53 cm scale length guitar)

ThC2-E3-G3 is an open  C major . 
Because the intermediate  strings F2-C2-E3-G3-D3 are of  intervals of 5 and 3 apart,  it allows for 3 rows of easy ordinary major and minor chord triads in 1-2 (rarely 3) frets! The privileged scale is the C major 




ALSO NOTICE THAT THE ISOCRATIC INTERVALS OF 5 THAT ACCOMPANY FAST DANCING FREE MELODIES ARE THE F2-C2  , C2-(E3-)G3, G3-D4 THAT ARE THE IONIAN  LYDIAN AND MIXOLYDIAN MODES  C MAJOR SCALE.

For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

Eb2-Bb2-D3-F3-C4-G4

with privileged scale the Bb major

The above tuning seems to be one with the almost maximum number of possible accompanying intervals of 5 which also allows for (here at least 2 rows) of easy 1 or 2 frets major-minor triads

173.THE TAMBOURAS-TAMOURAS APART BY A MINOR OR MAJOR INTERVAL OF 3 OR 4 5-5-3m-5-5 or 5-5-4-5-5 TUNING OFTHE 6-STRING GUITAR OR OUD


This is the tuning


D2-A2-E3-G3-D4-A4  (for a children's 53 cm scale length guitar)

It is a 3-courses tambouras  D2-A2-E3  and an interval of minor of 3 higher a 3-curses tambouras or sazi G3-D4-A4.

Because the intermediate 4 strings A2-E3-G3-D4 have an minor  interval of 3  they it allows for two rows of ordinary major and minor chord triads that use  up to 3 frets.

Notice that the notes of the over all tuning D-E-G-A are notes that belong to  5-tonic scales

If the intermediate interval is that of major 3 it is the tuning

Db2-Ab2-Eb3-G3-D4-A4 


For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

C2-G2-D3-F3-C4-G4

The above tuning seems to be  one with the absolute maximum number of strings an interval of 5 apart which also allows for easy up to  3 frets major-minor triads

Notice that the open intervals of 5 (power chords) that can accompany solos are the D-A (D minor or major chord) G-D (G major or minor chord) and A-E (A major or minor chord) and G-D-A are already in distances by interval of 5 that as as if   I-IV-V chords of D major or D minor diatonic scales


An alternative that the two tambouras are an interval of 4 LOWER re-entrance E.g.


F2-C3-G3-D3-A3-E4

5-5-(4)-5-5

173 THE BOUZOUKI-TAMBOURAS AN INTERVAL OF MAJOR 3 APART 5-5-3M-5-5 E2-B2-E3-G3-D4-A4 TUNING OF THE 6-STRING GUITAR AND OUD

This is the tuning


Eb2-Bb2-Eb3-G3-D4-A4  (for a children's 53 cm scale length guitar)

It is a 3-courses bouzouki Eb2-Bb2-Eb3  and an interval of major of 3 higher a 3-curses tambouras or sazi G3-D4-A4.

Because the intermediate 3 strings Bb2-Eb3-G3 are of  intervals of 4 and 3 apart, it isanopen Eb major   it allows for ordinary major and minor chord triads with easy dominant and major 7nths.




For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

Db2-Ab2-Db3-F3-C4-G4

The above tuning seems to be  one with the almost maximum number of strings an interval of 5 apart which also allows for easy 1 or 2 frets major-minor triads

172 THE BOUZOUKI-TAMBOURAS AN INTERVAL OF MINOR 3 APART E2-B2-E3-G3-D4-A4 5-4-3m-5-5-5 TUNING OF THE 6-STRING GUITAR AND OUD

This is the tuning


E2-B2-E3-G3-D4-A4  (for a children's 53 cm scale length guitar)

It is a 3-courses bouzouki E2-B2-E3  and an interval of minor of 3 higher a 3-curses tambouras or sazi G3-D4-A4.

Because the intermediate 3 strings B2-E3-G3 are of  intervals of 4 and 3 apart, and it is an open Em the  B2-E3-G3-D4 is an open Em7 or G6 it allows for ordinary major and minor chord triads with easy dominant and major 7nths.


NOTICE THAT  THE NOTES ARE OF PENTATONIC SCALE

ALSO NOTICE THAT THE ISOCRATIC INTERVALS OF 5 THAT ACCOMPANY FAST DANCING FREE MELODIES ARE THE E2-B2  , G3-D4, THAT ARE THE IONIC AND AEOLIAN MODES OF g MAJOR SCALE.

For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

D2-A2-D3-F3-C4-G4

The above tuning seems to be  one with the almost maximum number of strings an interval of 5 apart which also allows for easy 1 or 2 frets major-minor triads

171 THE D2-G2-C3-G3-D4-A4 TUNING 4-4-5-5-5 or 4-5-5-5-5 FOR THE 6-STRING GUITAR AND OUD

This is the tuning


D2-G2-C3-G3-D4-A4 tuning (for a children's 53 cm scale length guitar or on a mandola)



Because the highest 3 strings D2-G2-C3 are of equal intervals of 4 apart, it allows for ordinary major and minor chord triads with easy dominant and major 7nths.

Notice that the 4-strings G2-D4-A4 is already an  Irish bouzouki tuning


For the Oud and even a 66cm scale length standard 6-string guitar it is more appropriate the tuning one tone lower :

C2-F2-Bb3-F3-C4-G4


An alternative is the inverted Bouzouki-tambouras separated by an interval of that is 4-5-5-5-5

or

C2-F2-C3-G3-D4-A4 tuning (for a children's 53 cm scale length guitar or a mandola)

and for the Oud


C2-F2-C3-G3-D4 (see also  post 163)

The above tuning seems to be  one with the almost maximum number of strings an interval of 5 apart which also allows for easy 1 or 2 frets major-minor triads


It has the minor-major triads at lowest pitch

THE LATER TUNING ALLOWS TO PLAY IN MELODIES THE PARTS OF THE MELODIC THEMES OF INTERVALS OF 2 OR 3 HORIZONTALLY WHILE SΗIFT THE MELODIC THEME BY INTERVALS OF 4, 5 OR 8 VERTICALLY (FOR MELODIC THEMES MUTATIONS). IN TOTAL I FIND THIS TUNING VERY CONVENIENT FOR MELODIES IMPROVISATION.

170 THE C2-G2-D3-A3-D4-G4 5-5-5-4-4 TUNING OFTHE 6-STRING GUITAR AND OUD

This is the tuning


C2-G2-D3-A3-D4-G4 tuning (for a children's 53 cm scale length guitar)



Because the highest 3 strings A3-D4-G4 are of equal intervals of 4 apart, it allows for ordinary major and minor chord triads with easy dominant and major 7nths.

Notice that the 4-strings G2-D3-A3-D3 is already an  Irish bouzouki tuning


This applies for the Oud and even a66cm scale length standard 6-string guitar



C2-G2-C3-F3-C4-G4

The above tuning seems to be  one with the almost maximum number of strings an interval of 5 apart which also allows for easy 1 or 2 frets major-minor triads
It has the minor-major triads at highest pitch

THE LATER TUNING ALLOWS TO PLAY IN MELODIES THE PARTS OF THE MELODIC THEMES OF INTERVALS OF 2 OR 3 HORIZONTALLY WHILE SΗIFT THE MELODIC THEME BY INTERVALS OF 4, 5 OR 8 VERTICALLY (FOR MELODIC THEMES MUTATIONS). IN TOTAL I FIND THIS TUNING VERY CONVENIENT FOR MELODIES IMPROVISATION.

169. THE TWO CONSECUTIVE 3-COURSES BOUZOUKI AN INTERVAL OF 4 OR 3m APART 5-4-4-5-4 or 5-4-3m-5-4 TUNING OF THE 6-STRING GUITAR AND OUD

This is the tuning E2-B2-E3-A3-E4-A4  (for a 53 cm scale  length childrens guitar)

 E2-B2-E3-A3-E4-A4


A bass 3-courses bouzouki E2-B2-E3 and higher by an interval of 4 , also 3-courses bouzouki A3-E4-A4 in total

OR
E2-B2-E3-A3-E4-A4  (for a 53 cm scale  length childrens guitar)

or
E2-B2-E3-G3-D4-G4


Because the B2-E3-A3 is by consecutive intervals of 4 it allows for easy minor-major chord triads (on B2-E3-A3) in  1 or 2 frets only !

Also in the 2nd version because the D#2-F#3-A3 is 4-3m insterva; structure it allows for triad major minor diminished and augmented chords!

THE LATER TUNING ALLOWS TO PLAY IN MELODIES THE PARTS OF THE MELODIC THEMES OF INTERVALS OF 2 OR 3 HORIZONTALLY WHILE SΗIFT THE MELODIC THEME BY INTERVALS OF 4, 5 OR 8 VERTICALLY (FOR MELODIC THEMES MUTATIONS). IN TOTAL I FIND THIS TUNING VERY CONVENIENT FOR MELODIES IMPROVISATION.


For the oud one tone lower is more appropriate

D2-A2-D3-G3-D4-G4

or

E2-B2-E3-G3-D4-G4

For a 12-string guitar we may have the version



(C2:C2)-(G2G2)-(C3:C3)-(D3:D3)-(A3:A3)-(D3:D3)

                                                                          (5-4-3M-5-4)

168. THE BOUZOUKI-TAMBOURAS AN INTERVAL OF 4 APART D2-A2-D3-G3-D4-A4 5-4-4-5-5-TUNING OF THE 6-STRING GUITAR AND OUD

This is the tuning


D2-A2-D3-G3-D4-A4 tuning (for a children's 53 cm scale length guitar)

It is a 3-courses bouzouki D2-A2-D3 and an interval of 4 higher a 3-curses tambouras or sazi G3-D4-A4.

Because the intermediate 3 strings A2-D3-G3 are of equal intervals of 4 apart, it allows for ordinary major and minor chord triads with easy dominant and major 7nths.

The consecutive strings with in between intervals 5-5- allow also for 2-3 frets major-minor triads.

Notice that the 4-strings D2-A2-D3-G3 is already an inverted high-low pitch Irish bouzouki tuning

The inverse order Tambouras- bouzouki is also possible e.g.


D2-A2-E3-A3-E4-A4 but because there are not consecutive intervals of 4 or 4 it does not allow for
1 or 2 frets triads.


For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

C2-G2-C3-F3-C4-G4

The above tuning seems to be  one with the almost maximum number of strings an interval of 5 apart which also allows for easy 1 or 2 frets major-minor triads

THE LATER TUNING ALLOWS TO PLAY IN MELODIES THE PARTS OF THE MELODIC THEMES OF INTERVALS OF 2 OR 3 HORIZONTALLY WHILE SΗIFT THE MELODIC THEME BY INTERVALS OF 4, 5 OR 8 VERTICALLY. IN TOTAL I FIND THIS TUNING VERY CONVENIENT FOR MELODIES IMPROVISATION.




Saturday, March 30, 2019

167. THE BOUZOUKI-PANDURI-BOUZOUKI 5-4-6-5-4TUNING OF THE 6-STRING GUITAR AND OUD

This is an open Am7 tuning e.g, for a children 54 cm scale length guitar.

It is 3-curses bouzouki C2-G2-C3 , a 3-courses panduri (inverted A minor) C3-A3-E4 and a 3-courses bouzouki A3-E4-A4 in total

C2-G2-C3-A3-E4-A4 which is also an inverted form of the Am7 chord.

It could also be

                                 F#2-C#2-F#3-A3-E4-A4
an open F#m7

For the oud one tone lower is more appropriate

B1-F2-Bb3-G3-D4-G4 which is also an inverted form of the Am7 chord.

D2-A2-D3-G3-D4-G4

And of course it can be a  major chord too if the distance of the two power chords is a major interval of  3 E.g.

F2-C2-F3-A3-E4-A4 which is an open F major 7

For the oud one tone lower is more appropriate

Eb2-Bb2-Eb3-G3-D4-G4 which is an open Eb major 7

For standard 66 cm scale length guitar it can be e.g.

D2-A2-D3-F3-C3-F4 which is an open  Dm7 or


C2-G2-C3-E3-B3-E4

which is an open C major 7

THE LATER TUNINGS ALLOWS TO PLAY IN MELODIES THE PARTS OF THE MELODIC THEMES OF INTERVALS OF 2 OR 3 HORIZONTALLY WHILE SΗIFT THE MELODIC THEME BY INTERVALS OF 4, 5 OR 8 VERTICALLY (FOR MELODIC THEMES MUTATIONS). IN TOTAL I FIND THIS TUNING VERY CONVENIENT FOR MELODIES IMPROVISATION.

166. THE FINGER-PICKING 5-4-3M-3m-4 TUNING OF THE 6-STRING GUITAR

It is a slight variation of the panduri-tambouras-bouzouki tuning of post 160 and of bouzouki panduri-panduri tuning of post 165 is the next bouzouki panduri-tuning.



It is based on the idea of finger-picking ina 6-string guitar.In other words that

1) The lower 2 strings are to be used as bass
2) The 4th 3rd and 2nd string (counting from higher pitch) are to be used for major-minor chord triads
3) The highest pitch string is to be used for solo

Thus for a privilege scale e.g.  C major 
1) The bass will be C2-G2

2) The C major chord will be C3-E3-G3 

3) The solo highest string will be C4

Thus in total 

C2-G2-C3-E3-G3-C4

which is an open C major chord 

Similarly for open D major 

D2-A2-D3-F#3-A3-D4  (or for D minor D2-A2-D3-F3-A3-D4)

Which is a Bouzouki at D2-A2-D3 and a panduri at D3-F3-A3 and at F3-A3-C4. The advantage is that the 4-strings D3-F3-A3-C4 allow for two rows of normal forms major-minor chords for accompanying at higher range.

Similarly for open F major 

F2-C2-F3-A3-D4-F4  (or for F minor F2-C2-F3-A#3-D4-F)

Similarly for open E major 

E2-G#2-E3-G#3-B3-E4  (or for E minor E2-G2-E3-G3-B3-E4 )

Similarly for open G major 

G2-D2-G3-B3-D4-G4  (or for G minor G2-D2-G3-Bb3-D4-G )

As alternative

1) The lower 1 strings are to be used as bass
2) The 5th 4th and 3rd and 2nd string (counting from higher pitch) are to be used for major-minor chord triads
3) The 2 highest pitch string is to be used for solo

Thus for a privilege scale e.g.  F major 
1) The bass will be C2

2) The F major chord will be F2-A2-C3 

3) The solo highest strings will be E3-G4

Thu in total C2-F2-A2-C3-F3-F4

which is an open F major 

165. THE PANDURI-PANDURI -BOUZOUKI OPEN TUNING A2-E3-A3-C4-E4-G4 5-4-3m-3M-3m or 3m-3M-3m-4-5 or 3M-3m-3M-4-5 and 3M-3m-4-3M-4 and 3M-3m-4-3M-3m FOR THE 6-STRING GUITAR AND OUD




An inverse order of the combination of the composing instruments as in post 160 will give the tuning 

D2-A2-D3-F3-A3-C4  5-4-3m-3M-3m open Dm7

or 

A2-E3-A3-C4-E4-G4  5-4-3m-3M-3m   open Am7


or 


B2-F#3-B3-D4-F#4-A4  5-4-3m-3M-3m   open Bm7


Which is a Bouzouki at D2-A2-D3 and two panduri at D3-F3-A3 and at F3-A3-C4. The advantage is that the 4-strings D3-F3-A3-C4 allow for two rows of normal forms major-minor chords for accompanying at higher range.

NOTICE THAT IT IS AN OPEN TUNING AS IN OVER ALL IT IS Dm7


This D2-A2-D3-F3-A3-C4 is appropriate tuning for the  oud too.

For a 

A variation of this that could be called the  TAMOURAS-PANDURI-PANDURI tuning is the 
C2-G2-D3-F3-A3-C4 , where the C2-G2-D3 is a tampouras tuning by intervals of 5 and the D3-F3-A3 is a panduri in D minor plus the F3-A3-C4 a panduri in F major.

For a children 53 cm scale length guitar it could be



A2-E3-B3-D4-F4-A4 5-5-3m-3m-3M  OR G2-D3-A3-C4-E4-G4 The latter G2-D3-A3-C4-E4-G4 is appropriate for Oud too


Still another variation is the 


A2-C2-E3-G3-D3-A4  3m-3M-3m-5-5 

Or 


(SEE ALSO POST 90 AND 164) 

A2-C2-E3-G3-D3-G4  3m-3M-3m-5-4 (privileged scale C major)

or 

B2-D2-F#3-A3-E3-A4  3m-3M-3m-5-4 (privileged scale D major)

(For 53 cm scale length children guitars)

ALSO NOTICE THAT THE ISOCRATIC INTERVALS OF 5 THAT ACCOMPANY FAST DANCING FREE MELODIES ARE THE A2-(C2)-E3  , C2-(E3)-G3G3-D3-(G4) THAT ARE THE IONIAN  AEOLIAN  AND MIXOLYDIAN MODES  C MAJOR SCALE.



For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

G2-Bb2-D3-F3-C3-F4

with privileged scale the  Bb major or 


F#2-A2-C#3-E3-B3-E4

with privileged scale the  A major or 

E2-G2-B3-D3-A3-D4

with privileged scale the  G major or 

The above tuning seems to be one with the almost maximum number of possible accompanying intervals of 5 which also allows for (here at least 2 rows) of easy 1 or 2 frets major-minor triads

It can be considered also a minor triad panduri in lower 3-strings consecutive higher  at an interval of minor 3 of a 3-courses Bouzouki


Still another variation is the 

Bb2-D3-F3-A3-E4-A4  3M-3m-3M-5-4  

ALSO NOTICE THAT THE ISOCRATIC INTERVALS OF 5 THAT ACCOMPANY FAST DANCING FREE MELODIES ARE THE Bb2-(D3)-F3  , D3-(F3)-A3A3-E4-A4 THAT ARE THE IONIAN  DORIAN  AND LOCRIAN MODES of  Bb MAJOR SCALE.





The above tuning seems to be one with the almost maximum number of possible accompanying intervals of 5 which also allows for (here at least 2 rows) of easy 1 or 2 frets major-minor triads


or 

for oud 

G#2-C3-Eb3-G3-D4-G4  3M-3m-3M-5-4 

with privileged scale the G# major



Still another variation is the 


 A2-C3-E3-G3-C4-G4    3m-3M-3m-4-5  which is again an open tuning Am7 

or

E2-G2-B2-D3-G3-D4    3m-3M-3m-4-5  which is again an open tuning Em7 

there is the major chord version of course

C2-E2-G2-B2-E3-B3    3M-3m-3M-4-5  which is again an open tuning E7 

or 

F2-A2-C2-E3-A3-E4    3M-3m-3M-4-5  which is again an open tuning F7 

WE MAY COMPARE THESE TUNINGS WITH THE JONI MITCHEL TUNING

4-5-4-3M-3m

D2-G2-D3-G3-B3-D4

https://www.youtube.com/watch?v=jhDiNy_U38Y


SIMILAR TO THE PREVOYS TUNINGS ARE THE 

 3M-3m-4-3M-4 and 3M-3m-4-3M-3m

e.g.

For a 6-string guitar 3M-3m-4-3M-4 

G2-B2-D3-G3-B3-E4

or for a 6-string oud  3M-3m-4-3M-3m


C2-E2-G2-C3-E3-G3

164 THE OPEN HARMONIC TRIADS (4 PANDURIS IN SEQUENCE OR A JARANA) 3m-3M-3m-3M-3m TUNING OF THE 6-STRING OR 12-STRING THE OUD GUITAR AND OTHER 4-COURSES INSTRUMENTS

THE AMAZING OPTIMAL HARMONIC   DIATONIC 6-STRING OR 12-STRING GUITAR
3m-3M-3m-3M-3m TUNING  (4 PANDURIS IN SEQUENCE OR 4 OPEN MAJOR-MINOR TRIADS IN SEQUENCE) .
(this essentially a topic introduced in the past also in post 90. See also post 310 about 2 dimensional isomorphic layouts of chords)


Here is also a useful tool for tunings

https://www.gtdb.org/acegbd

This tuning of alternate minor and major thirds seem to occur for a 5-string Mexican instrument the Jarana huasteca
https://en.wikipedia.org/wiki/Jarana_huasteca


Normally a guitar with the standard tuning is a chromatic instrument e.g.  compared to diatonic wind instruments like a recorder or a diatonic tuned Celtic harp.  But there is a natural harmonic diatonic tuning of the guitar.

An  optimal but unknown tuning for the 6-string guitar when chord-playing is the main target and not so much solo playing is by alternating minor and major 3rds. In semitones for the 6 strings   4-3-4-3-4 or 3-4-3-4-3
E.g. Bb2- D3-F3-A3-C4-E4 ( default scale Bb) or F2-A2-C3-E3-G3-B3 (default scale F major) or A2-C3-E4-G4-B4-D4 or C3-E4-G4-B4-D4-F4 (default scale C major)  or  G2-B2-D3-F#3-A3-C4 (default scale G major)

For a 53 cm scale length children guitar the tuning can be higher . e.g.


E3-G3-B3-D4-F#4-A4 or 

D3-F3-A3-C4-E4-G4 

For a 12-string guitar it can be the 

(A2:A2)-(C3:C3)-(E4:E4)-(G4:G4)-(B4:B4)-(D4:D4)

or 

(C3:C3)-(E4:E4)-(G4:G4)-(B4:B4)-(D4:D4)-(F4:F4)

THIS MAY BE CALLED THE HARMONIC TUNING OF THE GUITAR AS IT IS BASED ON THE HARMONIC 2-OCTAVES 7-NOTES SCALE (see also post 79)



The latter is the most natural open tuning. There the same shape for major and minor chords and only 3 of them and in only one or frets compared to the 6 in the standard tuning guitar. If we want also dominant and major 7nth chords we use again only 2 frets. The same with the aug chords Only the dim7 chords require 3 frets. Because of the symmetry of the tuning among the strings, the relations of relative chords and also chords in the wheel of 4ths is immediate to grasp also geometrically. Of course when we say shape of chords as it is standard in jazz, we do not play all 6-strings (as in strumming) but only 3 or 4 strings.

In post 67 are also described harmonically  tuned 4-course (Greek 4-courses bouzouki, ukulele, mando-lele etc)  or 3-courses (Balalaika, Greek 3-course Bouzouki) instruments that are easier to play but have the same remarkable advantages due to the harmonic tuning.

E.g. for 4-course , the tuning D3D4-F3F4-A4A4-C4C4 abd for 3-courses the F3F4-A4A4-C4C4 or 

G3G4-Bb4Bb4-D4D4. 

If we want to make such an alternating 3rds  tuning an OPEN TUNING for the guitar one way to do itis the next tuning 6m-3M-3m-3M-6M e.g.  C2-A2-C3-E3-G3-E4

The easiness with which one can improvise melodies within a diatonic scale (all notes within 3  frets and in a very symmetric zig-zag pattern) together with 3-notes chords of the scale (gain all chord patterns within 3-frets) is unsurpassed.
At the same time , the easiness with which one can make diatonic scale modulations, chromatic (1 semitone apart) or by changing a minor to a major chord and vice versa and continuing in a relevant diatonic scale, is unsurpassed again! 

The main advantages are

1) Greater number of major or minor triads per number of frets, thus easier chord playing

2) Less number of chord-shapes, thus easier guitar to learn

3) The shapes of chords require less number of frets 

4)  1st inversion chords require only 1 or 2 frets, thus have easier shapes and are easier to play

5) In the melodies the notes are closer in total thus easier  to find by the fingers. The 2 priviledged diatonic scales have very symmetric shapes on the fretboard 

6) The odd number of strings or the even number of strings are in intervals of 5 (7 semitones) thus as in the tuning of Cello, Octave mandolin , Viola, Violin , mandolin , Irish bouzouki, mandocello etc therefore any  one trained to play solos in the previous instruments can keep his knowledge and play the same solos in such an harmonic tuned guitar (on odds or even strings).
Also the isokratic technique  in the 3-courses instruments tuned so as to contain a 5th like bouzouki, boulgari, tampour , saz  where two string a 5th apart accompany the melody on another string still applies in the harmonic guitar as all odd and even number strings are tuned a 5th apart. Nevertheless compared to the previous instruments (violon , mandolin etc) in the harmonic guitar the 3-notes or 4-notes major or minor chords , or diminished and augmented chords are played radically easier with one or two rarely 3 frets and is  the densest such placement on the fretboard among all tunings of the guitar . At the same time any guitar  jazz player one trained to play 3-notes chords (triads) in the standard guitar and especially on the 4 highest strings can keeps his knowledge and with slight modifications apply it to the harmonically tuned guitar. Furthermore any one playing the panduri (a russian or georgian folk 3-courses instrument coming from ancient Geek panduris, which is tuned in open major or minor 3-notes chord) will pass his knowledge to this harmonic tuned guitar in the upper 3 or middle 3 and lower 3 strings! 


This harmonic tuning by alternating minor-major 3rds, allows, for all  4-notes chords of e.g. the D major scale in   the 3rd octave (c3,d3,e3,f3,g3,a3,b3), Cmaj7->Em7->G7->Bm6->Dm7->Fmaj7->Am7 in 1st normal position across the fretboard, something not possible with the standard tuning of the guitar. In the standard guitar it is possible only by 2nd or 3rd inversion, or by shifting to the 4th octave or 2nd octave. Therefore there are important very natural voicing of the 4-notes chords of the 3rd  octave that we miss with the standard tuning and in the harmonically tuned guitar, it is in a single octave!

THERE ARE 4 VERY SYMMETRIC WAYS THAT THE CHORDS IN A WHEEL BY 4THS CAN BE REPRESENTED AND PLAYED IN THE FRETBOARD WITH THIS  HARMONIC TUNING. 

WE ENLARGE IN THE NEXT WITH MAPS OF THE CHORDS AND THEIR SHAPES IN THE THREE WHEELS, THE ONE BY 4THS, THE ONE BY 3RDS AND THE CHROMATIC.


THE BEST WAY TO LEARN THE FRETBOARD IN ANY OPEN TUNING (E.G, OVERTONES TUNINGS OR THE CURRENT TUNING IN THIS POST) IS BY CONCEIVING THE FRETBOARD AS OF A DIATONIC INSTRUMENT, MARK THE DEFAULT PREFERED DIATONIC SCALE ON THE FRETBOARD, AND LEARN THE 3-NOTE CHORDS NORMAL FORMS (ON 3 CONSECUTIVE STRINGS) IN THIS SCALE AND TUNING.

THEN FIGURE OUT THE BASIC 3 INVERSIONS OF A TRIAD CHORD (EQUIVALENT TO THE DEA-SYSTEM) AND CORRESPOND TO EACH INVERSION D, OR E OR A,  THE MODE OF THE DIATONIC SCALE THAT IT GIVES. 

THEN LEARN THE MINOR CHORDS HARMONIC TRIPLET OF CHORDS AND MAJOR CHORDS HARMONIC TRIPLET OF CHORDS OF THE DIATONIC SCALE WITH ANY CONVENIENT INVERSION ON THE FREBOARD.


In post 67 are also described harmonically  tuned 4-course (Greek 4-courses bouzouki, ukulele, mando-lele etc)  or 3-courses (Balalaika, Greek 3-course Bouzouki) instruments that are easier to play but have the same remarkable advantages due to the harmonic tuning.

E.g. for 4-course , the tuning D3D4-F3F4-A4A4-C4C4 abd for 3-courses the F3F4-A4A4-C4C4 or 

G3G4-Bb4Bb4-D4D4. 

If we want to make such an alternating 3rds  tuning an OPEN TUNING forthe guitar one way to do itis the next tuning 6m-3M-3m-3M-6M e.g.  A2-F3-A3-C4-E4-C5


163. THE MANDOCELLO-BOUZOUKI 5-5-5-4 TUNING OF THE OUD

THE MANDOCELLO-BOUZOUKI TUNING OF THE OUD

This tuning of the oud utlizes only the higher 5-courses and it is 

C2C2-G2G2-D3D3-A3A3-D4D4

The lower 4-courses C2C2-G2G2-D3D3-A3A3 is mandocello while the  higher 3-courses is a 3-courses bouzouki.

It can be conversely of course THE Bouzouki-mandocello or 4-5-5-5-5 (See post  171 )

or 

C2C2-F2F2-C3C3-G3G3-D4D4

THE PANDURI-BOUZOUKI TUNING OF THE OUD

This tuning of the oud utlizes only the higher 5-courses and it is 

B1B1-G2G2-D3D3-A3A3-D3D4




The lower 3-courses B1B1-G2G2-D3D3 is an open G major pandiuri tuning (inverted form of the chord) while the  higher 3-courses is a 3-courses bouzouki.

Compared to the  Bouzouki-Tambouras-Bouzouki tuning as in post 162, the mandocello-bouzouki tuning can play with the standard isocratic  by intervals of 5 melodies (It is a technique similar to the finger picking but for 3 strings only )in more scales by the open strings.

The consecutive strings with in between intervals 5-5-5 allow also for 2-3 frets major-minor triads.

THE LATER TUNING ALLOWS TO PLAY IN MELODIES THE PARTS OF THE MELODIC THEMES OF INTERVALS OF 2 OR 3 HORIZONTALLY WHILE SΗIFT THE MELODIC THEME BY INTERVALS OF 4, 5 OR 8 VERTICALLY (FOR MELODIC THEMES MUTATIONS). IN TOTAL I FIND THIS TUNING VERY CONVENIENT FOR MELODIES IMPROVISATION.