179. THE AMAZING IONIAN-AEOLIAN-MIXOLYDIAN PANDURI-TAMBOURAS E2-G2-B3-D3-A3-E4 3m-3M-3m-5-5 TUNING . SLIGHT MODIFICATION OF THE HARMONIC TUNING OF THE 6 or 12 STRING GUITAR AND OUD

(SEE ALSO POST 90 AND 164) 

A2-C2-E3-G3-D3-A4  3m-3M-3m-5-5 (privileged scale C major)

or 

B2-D2-F#3-A3-E3-B4  3m-3M-3m-5-D (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)-G3, G3-D3-(A4) 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 

for a 12-string guitar it can be the tuning

(E2:E2)-(G2G2)-(B3:B3)-(D3:D3)-(A3:A3)-(E4:E4)  3m-3M-3m-5-5

OR

(D2:D2)-(F2F2)-(A2:A2)-(C3:C3)-(G3:G3)-(D4:D4)  3m-3M-3m-5-5



Because of the part 3m-3M-3m is has plenty of many major minor triads that can be played with 1-2 frets only

And because of the part -5-5 it allows for the old isocratic with an interval of 5 playing of fast melodies. 

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 Tambouras.


The 5 main advantages for HARMONIC AND MELODIC IMPROVISATION  of this tuning are:

1) It allows for the ancient isocratic accompanying of fast melodies with an interval of  5 by the two immediate lower strings of the string of the melody in the   -5-5 part

2) The 2-octaves 7-notes scale by alternating intervals of 3 that shape the triad chords in a diatonic scale (called also melodic corridor or wheel by 3rds see post 94 and 79  )  have symmetric representations in this tuning either in the  3m-3M-3m or  -5-5 part .

3) It is uniform tuning for melodies to shift among the strings in the   -5-5 part .

4) The shift higher or lower by an interval of 4 or 5 vertical to  strings  which is usually a  mutation of a melodic theme played horizontally on a string  is very easy and symmetric

5) It allows for both melodic improvisation with isocratic accompanying by intervals of 5 and harmonic improvisation with easy to play in 1 or 2 frets major-minor triads.

6) It allows strumming only on the 4-lower strings or per  3-strings

It is probably the best optimal tuning when both harmonic and melodic improvisation is required in
percentages of 60%-40%.

For a 4-courses instrument like Bouzouki etc it can be wit a slight inversion in the lower triad chords E.g.

(E2:E2)-(C3:C3)-(G3:G3)-(D4:D4)  (6M-5-5)

OR

(F2:F2)-(D3:D3)-(A3:A3)-(E4:E4)   (6M-5-5)

(if used to tambouras or mandolin)

Or if we are used to Bouzouki (which is also open D minor)

(F2:F2)-(D3:D3)-(A3:A3)-(D4:D4)   (6M-5-4)

The only reasons that one would prefer the later from the former is that the (A3:A3)-(D4:D4)  allows for easy two notes chords by intervals of 3. Nevertheless, it loses its uniformity for solos in the higher 3 strings, and also some major-minor triads on them playable at 2 or 3 frets. Personally I would prefer the

(F2:F2)-(D3:D3)-(A3:A3)-(E4:E4)   (6M-5-5)