THE BOUZOUKI-TAMPOURAS-BOUZOUKI TUNING OF THE 6-STRING GUITAR AND OUD
It is a tuning applied in to children's 53 cm scale length guitar where the lower 3-strings is a 3-courses bouzouki D2-A2-D3 bouzouki, the higher 3 are a 3-courses A3-E4-A4 bouzouki and the 2nd 3rd and 4th strings are tampouras tuned in D3-A3-E4 . In total
D2-A2-D3-A3-E4-A4
NOTICE THAT THE TUNING HAS THE I-IV-V notes of the A major scale
NOTICE THAT THE TUNING HAS THE I-IV-V notes of the A major scale
Of course there are lower versions of it on an ordinary 66 cm scale lenghth guitar
e.g. G2-D2-G2-D3-A4-D4
Again the I-IV-V notes of the D major scale
For an oud it can be as following
E.G. C2-G2-C3-G3-D4-G4
Again the I-IV-V notes of the G major scale .
In the same way that the harmonic tuning (alternating major minor intervals of 3 , see post 90 ) can be considered an enhamcmenet of the tuning by intervals of 5 so as to include playing major-minor triads in an easy way, the curent tuning can be considered an enhancment of t he tuning by intervals of so as to play the power chords (1-5-1' e.g. D3-A3-D4) ) and the particular type of fast solos on
string 1', whichis accompanyed not by a chord but by an interval of 5 , here 1-5 (in the example D3-A3) This type of old and fast melodies were not accompanyied by 3-notes chords as in later centuries but only by an interval of 5 (in the example the D3-A3) . It is a technique similar to the finger picking but for 3 strings onlyThis is the reason why tuning by intervals of 5 was optimal , and even better optimal tuned by power chords 1-5-1' , in playing such melodies
The consecutive strings with in between intervals 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.
Compared to the mandocello-bouzouki tuning as in post 163, the Bouzouki-Tambouras-Bouzouki tuning can play with the standard isocratic by intervals of 5 melodies in less scales by the open strings but in more ways.
e.g. G2-D2-G2-D3-A4-D4
Again the I-IV-V notes of the D major scale
For an oud it can be as following
E.G. C2-G2-C3-G3-D4-G4
Again the I-IV-V notes of the G major scale .
In the same way that the harmonic tuning (alternating major minor intervals of 3 , see post 90 ) can be considered an enhamcmenet of the tuning by intervals of 5 so as to include playing major-minor triads in an easy way, the curent tuning can be considered an enhancment of t he tuning by intervals of so as to play the power chords (1-5-1' e.g. D3-A3-D4) ) and the particular type of fast solos on
string 1', whichis accompanyed not by a chord but by an interval of 5 , here 1-5 (in the example D3-A3) This type of old and fast melodies were not accompanyied by 3-notes chords as in later centuries but only by an interval of 5 (in the example the D3-A3) . It is a technique similar to the finger picking but for 3 strings onlyThis is the reason why tuning by intervals of 5 was optimal , and even better optimal tuned by power chords 1-5-1' , in playing such melodies
The consecutive strings with in between intervals 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.
Compared to the mandocello-bouzouki tuning as in post 163, the Bouzouki-Tambouras-Bouzouki tuning can play with the standard isocratic by intervals of 5 melodies in less scales by the open strings but in more ways.
