The traditional tunings of the Greek Lute are
Main land and islands: C4:C3-G3:G2-D4:D3-Α3:Α3 (Intervals as if of single strings (-4) (+5) (+5 ) IN SEMITONES -5 +7 +7 (THUS TWICE RE-ENTRANCE TO LOWER)
The range is rather concentrated because of the re-entrance which gives a uniform sound in strumming and playing (unlike the octave mandolin or mandocello)
Creta: G3-D3-A3-E3 (Intervals as if of single strings -4 (+5) (-4) ) IN SEMITONES -5 +7 -5 (THUS RE-ENTRANCE TO LOWER IN THE MIDDLE)
G3-D3-A3-E3 if we correct the re-entrance in the middle gives E2-A2-D3-G3 which is a 5-5-5 tuning which is uniform in soling when changing strings.
The range is rather concentrated because of the re-entrance which gives a uniform sound in strumming and playing (unlike the octave mandolin or mandocello)
WE MAY COMPARE THESE TUNINGS WITH THE NEXT
If both harmonic improvisation and melodic improvisation is required then the mixed tuning
(C2:C2)-(G2:G2)-(B2:B2)-(D3:D3) (5-3M-3m) seems appropriate.
Also
(C3:C3)-(G3:G3)-(B3:B3)-(D4:D4)
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 5-3M 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 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 feasible in the 5- part
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 3-lower 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 .
But if conversely the requirements conversely in harmony and melody inother words harmonic and melodic improvisation is required in percentages of 40%-60% for a 4-courses instrument , the most probally the best tunig is the 5-5-5 (e.g. G2-D3-A3 or C2-G3-D4)
There is of course a minor version 5-3m-3M E.g.
(A2:A2)-(E3:E3)-(G3:G3)-(B3:B3) (5-3m-3M)
In case we want to keep the 3-courses Bouzouki in it e.g. D3-A3-D4 then the tuning should be
(D3:D3)-(A3:A3)-(D3:D3)-(F4:F4) (5-4-3m) or
(G2:G2)-(D3:D3)-(G3:G3)-(B3:B3) (5-4-3M)
There are also overtone open tuning for 4-courses instruments (see post 191)
which are the
C2C3-C3C3-E3E3-G3G3
D2-G2-D3-A3 which does have triads in thr 5-5 part and also in the 4-5 part, and also it allows for isocratic tuning.
and
5-5-4
D2-A2-E3-A3
Main land and islands: C4:C3-G3:G2-D4:D3-Α3:Α3 (Intervals as if of single strings (-4) (+5) (+5 ) IN SEMITONES -5 +7 +7 (THUS TWICE RE-ENTRANCE TO LOWER)
The range is rather concentrated because of the re-entrance which gives a uniform sound in strumming and playing (unlike the octave mandolin or mandocello)
Creta: G3-D3-A3-E3 (Intervals as if of single strings -4 (+5) (-4) ) IN SEMITONES -5 +7 -5 (THUS RE-ENTRANCE TO LOWER IN THE MIDDLE)
G3-D3-A3-E3 if we correct the re-entrance in the middle gives E2-A2-D3-G3 which is a 5-5-5 tuning which is uniform in soling when changing strings.
The range is rather concentrated because of the re-entrance which gives a uniform sound in strumming and playing (unlike the octave mandolin or mandocello)
WE MAY COMPARE THESE TUNINGS WITH THE NEXT
If both harmonic improvisation and melodic improvisation is required then the mixed tuning
(C2:C2)-(G2:G2)-(B2:B2)-(D3:D3) (5-3M-3m) seems appropriate.
Also
(C3:C3)-(G3:G3)-(B3:B3)-(D4:D4)
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 5-3M 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 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 feasible in the 5- part
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 3-lower 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 .
But if conversely the requirements conversely in harmony and melody inother words harmonic and melodic improvisation is required in percentages of 40%-60% for a 4-courses instrument , the most probally the best tunig is the 5-5-5 (e.g. G2-D3-A3 or C2-G3-D4)
There is of course a minor version 5-3m-3M E.g.
(A2:A2)-(E3:E3)-(G3:G3)-(B3:B3) (5-3m-3M)
In case we want to keep the 3-courses Bouzouki in it e.g. D3-A3-D4 then the tuning should be
(D3:D3)-(A3:A3)-(D3:D3)-(F4:F4) (5-4-3m) or
(G2:G2)-(D3:D3)-(G3:G3)-(B3:B3) (5-4-3M)
There are also overtone open tuning for 4-courses instruments (see post 191)
which are the
For a 4-courses instrument like a bouzouki or ukulele or octave mandolin two relevant overtone open tunings tunings are the
C3-G3-C4-E4 or C2-G2-C3-E3 OR D3-A3-D4-F#4
or D2-A2-D3-G3
5-4-3M
and
and
G3-C4-E4-G4. or A2-D2-F#3-D4.
4-3M-3m
Or
Or
C2C3-C3C3-E3E3-G3G3
8-3M-3m
And also the 4-5-4
D2-G2-D3-G3
which because of the 4-5 part it does have major-minor triads within 2-3 frets, and at the same time with the 5 part it allows for isocratic by 5th playing on the highest string.
It is also an open power chord tuning
It is also an open power chord tuning
and also the
4-5-5
4-5-5
and
5-5-4
D2-A2-E3-A3
