THE 4-DOUBLE-STRINGS GUITAR-LUTE
(OR NORMAL AND BARITONE 8-STRING GUITAR (8-string Baroque guitar) FROM A 12-STRING GUITAR).
I have converted a 12-string guitar to a 8-string guitar by simply , eliminating the 6th and 5th pairs of strings. The reason to use an 8-string guitar instead ofa 12-string guitar, is that a 12-string guitar requires much force in the left hand, and in addition , an 8-string guitar has more perfect voicing of the chords. The elimination of the 2 lower pairs of the 12-string guitar , makes it easier also to play as far a muscular effort of the left hand is concerned.
The inherited tuning from the 12-string guitar is of course, the (D4:D3, G4:G3, B3:B3, E4:E4). The sound is very fine and I believe it sounds better than a standard 4-double string Greek bouzouki with tuning (C4:C3, F4:F3, A3:A3, D4:D4) . I call this instrument a normal 8-string or 4-double strings guitar from a 12-string guitar. It is tuned as a baritone ukulele, but of course due to the larger size of the wooden body, the sound is richer and deeper.
I have nevertheless a second 12-string guitar which again I have converted to a 8-string guitar, but with different tuning. The tuning I use is the (D3:D2, G2:G3, B2:B3, E3:E4). The reason that I set this tuning and not the (D4:D3, G4:G3, B3:B3, E4:E4) as previously , is that the former has a range at the lower frequencies the same and actually slightly lower than a usual 6-string guitar. I call thsi instrument a baritone 8-string or 4-double strings guitar from a 12-string guitar. This range of this guitar is very close to the range of the cello and mandocello !
(A slight variation of this tuning is the (D3:D2, G3:G4, B2:B3, E3:E4). The reason for such a variation is to make it a bit higher in the range and make the chords sound clearer. We may call it the light baritone -8string guitar from a 12-string guitar. )
The advantages-disadvanges of this tuning are
1) because the 3 higher in pitch pairs of strings have high notes , like G3, B3, E4, the chords are heard clear
2) Because of the D2 string it has sufficient bass range , in fact larger than the 6-string guitar , and it goes one tone lower than it, So it sounds close to the mandocello.
3) Compared to the tuning (D4:D3, G4:G3, B3:B3, E4:E4), the tuning (D3:D2, G3:G4, B2:B3, E3:E4), makes the instrument sound closer in range to the 6-string guitar, as it has notes in the 2nd octave too!
4) Compared to the tuning baritone (D3:D2, G3:G2, B2:B3, E3:E4), the light baritone tuning (D3:D2, G3:G4, B2:B3, E3:E4), is softer in the pressures of the hand.
5) Because the two lower in pitch pairs D3:D2, G3:G4, have opposite octaving, that is the G3:G4, has re-entrance and shift the 2nd string one octave higher, while the first pair D3:D2, shifts the 2nd string one octave lower, when playing melodies that use both these two strings, the sound of the pitch sounds as if it jumps one octave . This can be improved if we eliminate the G4 in the pair G3:G4 and we turn it to G3:G3, in other words with the tuning (D3:D2, G3:G3, B2:B3, E3:E4). Also because the G4-string in the pair G4:G3 breaks often, we may replace this pair with the G3:G3. Finally because the total sound is a bit more bass than usual we may try the next tuning (D4:D2, G3:G3, B2:B3, E3:E4)! Notice that the pair D4:D2 has 2-octaves distance! In this way at the cost a bit of the pitch uniformity, we succeed to have bass notes like D2 which is lower than a normal 6-string guitar, while at the same time high pitch strings like D4, B3, E4, which also exist in a normal 12-string tuned guitar.
So for the E4 of the 1st pair, I use an E4-guitar n string of the 12-string guitar. For the E3 of the 1st string I use an D3-string of the guitar. For the B3 of the 2nd pair, I use a B3-string of the guitar. For the B2 of the 2nd pair, I use a A2-string of the guitar. For the G3 of the 3rd pair, I use again a G3-string of the guitar. For the G2 of the 3rd pair, I use a A2-string of the guitar. For the D3 of the 4th pair I use a D3-string of the guitar (or a E3 string of the 12-string guitar) . For the D2 of the 6th pair, I use a E2 string of the guitar.
This tuning of a converted 12-string guitar, gives a deep bass frequencies sound, as all the strings are "octaved" at an octave lower.It is suitable for large body instrument bodies. The disadvantage is that the chords are voiced with low frequencies and thus are not so vivid and easy to grasp by the ear. This is partially corrected by the next alternative tuning based on A3 on the 1str string rather than E4. But the advantage of the current tuning based on E4 is that the 1st string, still has an E4, and the usual mapping of the chords on the 6-string guitar, (after truncation) still are the same on this 8-string tuning.
This tuning (D3:D2, G2:G3, B2:B3, E3:E4) can be done also in the 12-string guitar with nylon string also. In which case again for the E4 of the 1st pair, I use an E4-guitar n string of the nylon 6-string guitar. For the E3 of the 1st string I use an D3-string of the guitar. For the B3 of the 2nd pair, I use a B3-string of the guitar. For the B2 of the 2nd pair, I use a A2-string of the guitar. For the G3 of the 3rd pair, I use again a G3-string of the guitar. For the G2 of the 3rd pair, I use a A2-string of the guitar. For the D3 of the 4th pair I use a D3-string of the guitar (or a E3 string of the 12-string guitar) . For the D2 of the 6th pair, I use a E2 string of the guitar.
An alternative way to tune and play it, maybe to tune it is the 8-string tenor guitrar with nylon strings but here with metal strings, or as the tenor mandola is 3) below.
In more detail we may use the tuning (G3:G2, C3:C4, E3:E4, A3:A3),
with metal strings of the 12-string guitar. So for the A3 of the 1st pair, we use an G3-guitar metal string. For the E4 of the 2nd pair, we may use a metal E4-string of the guitar. For the E3 of the 2nd pair, we may use a metal D3-string or better a G3-string of the guitar. For the C4 of the 3rd pair, we may use a metal B3-string or better a E4-string of the guitar. For the C3 of the 3rd pair, we may use use a metal A3 string or better a D3-string of the guitar. For the G3 of the 4th pair, we may use a metal G3. And for the G2 of the 4th pair we may use a metal E2-string or better a A2 string of the guitar.
The advantage of this tuning is that the chords are vivid and easier to grasp by the ear compared to the previous tuning based on E4, and also still the bass frequencies and range of a guitar exists in this tuning. The disadvantage is that the 1st pair of strings has to have a re-entrace on A3 rather than A4. Maybe with special E4 strings the pair, A3:A3 could become A3:A4, but with stanrad E4-strings of a guitar this is most often not possible as the E4 string brakes after some re-tunings.
The tuning (D3:D2, G2:G3, B2:B3, E3:E4) as we said should be considered a Baritone 8-string guitar. The chords are at a lower range and are not so vivid. Therefore for an accompanying guitar may not be recommended this tuning. On the other hand a slightly different way to octave the strings, may result to a higher range, therefore not a baritone 8-string guitar, which is appropriate for the chords and accompanying, and this is the tuning (D4:D3, G4:G3, B2:B3, E3:E4). Notice that the two higher strings B3, E4 are octaved at a lower octave and the two lower strings D3, G3 at a higher octave. The sounding creates the feeling of a slight re-entrance, but the over all sound of the chords is vivid, and the bass are preserved, compared to the tuning
(D4:D3, G4:G3, B4:B3, E4:E4), which has not bass notes and the range is limited. I have converted a 12-string Taylor guitar to an 8-string guitar (because it is played with less muscular effort than the 12-string guitar and had more perfect chord voicing) with the tuning (D4:D3, G4:G3, B2:B3, E3:E4).
I have used a d3-string for the 2nd lower string E3 of the 1st pair E3:E4. I have used also a d3-string for the 2nd lower string B3 of the 1st pair B2:B3. It is better a d3-string for the 2nd lower string B3 of the 1st pair B2:B3 , than a a3-string as the diameter of the string is less, thus less difference from the diameter of the b3-string, and also the tension lower which makes it softer to play. The strings for the pairs D4:D3, G4:G3, are exactly as in a 12-string guitar.
After some time, I changed the tuning to the (D4:D2, G4:G2, B2:B3, E3:E4). The sound is very smooth and beautiful! Notice that the lower pitch string in all pairs are a continuity without re-entrance while only the higher pitch strings make re-entrance. The lower pitch string range in the octaves 2, 3 , while the higher pitch strings in the pairs in the octave 4. In this way this 4-double strings guitar has wider range than the 6-string guitar, (in the open strings) , while its is softer in muscular effort and chord shapes to play it compared to a 12-string guitar! It is a bit more muscular effort though than a 6-string guitar, but is has also richer sound! From all the tuning of the 4 double strings guitar I prefer this one, the (D4:D2, G4:G2, B2:B3, E3:E4)! This is my favorite tuning for the 4-double string LUTE-guitar or Cello-guitar
Some advantages of this kind of tuning where in all the pairs , the two strings are one octave apart are the next
1) it covers larger range of octaves than the tuning of an ordinary (tenor) ukulele!
2) It also gives the opportunity with sufficient skill in the right hand fingernails, to play only the higher strings of each pair or only the lower strings of each pair moving therefore in two different octaves the same melody or harp-ism.
3) Furthermore when singing, the instrument supports the voice in two octaves rather than one octave which makes singing more well supported by the instrument thus easier and more comfortable and accurate!
Still an alternative tuning for such a body of a 12-string guitar is like the Greek 4-double string Bouzouki, in other words (C4:C3, F4:F3, A3:A3, D4:D4) . or baritone version (C4:C3, F4:F3, A2:A3, D3:D4). This tuning still does not go as low in pitch as a cello and mandocello! But the corresponing shift of the tuning (D3:D2, G3:G4, B2:B3, E3:E4), one tone lower , in other words the (C3:C2, F3:F4, A2:A3, D3:D4), goes exactly as deep in pitch as a cello and mandocello!
Notice also that the lower octaving at the higher strings and higher octaving at the lower strings is also how the saz instruments (see below) is octaved.
We may compare the previous tuning with the Greek lute tuning. Notice that the range of the 8-string guitar tuning (D4:D3, G4:G3, B2:B3, E3:E4) is just one tone higher than the Greek island range of the Lute.
The Greek Islands lute tuning which has re-entrance at the lower pair and it is
(C3:C4, G2:G3, D3:D4, A3:A3)
and the Cretan Lute which again has re-entrance at the lower pair and it is
(G3:G3, D3:D3, A3:A3, E3:E3)
I have also a 12-string guitar but with nylon strings! It is softer to play, and the slight out of tune cases of a 12-string guitar , are not highlighted as with the metal string 12-string guitar. I used a e4-string for the 2nd higher g4 of the g3-string, again an e4-string for the 2nd higher d4 of the d3-string, an g3-string for the 2nd higher a3 of the a2-string, and an d3-string for the 2nd higher e3 of the e2-string. The nylon strings have larger amplitudes of the metal strings, so the necessary 12-string guitar body, must have the strings of pair of strings not too close. I also raised the right bridge to be sure that the nylon strings do not hit the fretboard at strong strumming. I used at first to test that is feasible to have a 12-string guitar with nylon strings, a J&D 12-string guitar, because it had larger distances among the strings in each pair.
This nylon strings Greek bouzouki below is good for solos or combination of chords with bridge-solos, because the one notes sounds concentrated in time , and louder compared e.g. to a 8-nylon string guitar derived from a 12 nylon string guitar.
But when one only needs to play the chords with strumming the a 8-nylon string guitar derived from a 12 nylon string guitar is better as the sounds of the notes last longer.
2.1.1) The GUITAR-CELLO (or Guitar-Oud) :
I have converted an ordinary 6-string guitar to a 4-string guitar-cello with tuning
(C2, F2, A2, D3) which is in the lower range of a cello. It may be also considered a type of Guitar-oud.
THE PANDURI-TAMOURAS-BOUZOUKI GUITAR TUNING:
This is a very efficient tuning of a 6-string guitar,which combines an open D major (or minor ) panduri on the lower 3 strings inother words D2-F2#-A2 (or D2-F2-A2) , a 3-string tampoura on the 4th,3rd-2nd strings in other words A2-D3-A3, and a 3-string bouzouki on the 1st 2nd and 3rd string in other words D3-A3-D3 .Inover all the 6-string tuning is
D2-F2#-A2-D3-A3-D4 (or D2-F2-A2-D3-A3-D4 ) which is also an open D major tuning (or open D minor tuning).
The chords are played by triads on the 3 lower strings only (as in Zither where the strings for accompanying chords are separte from the strings for solo) , and are easy as the need only 1 or 2 frets. The 3 or 4 higher strings are used for the isocratic melody playing wich is accompanyind by an intervalof 5,as it is usual in 3-string Bouzouki and tambouras
If the guitar is child's guitar of scale length 55-58.5 cm then the previous tuning can be raised to the (with standard guitar strings)
G2-B2-D3-G3-D4-G4 (or G2-Bb2-D3-G3-D4-G4 ) which is also an open G major tuning (or open G minor tuning) which is very sweet in listening.
THE 4-COURSES AND 3-COURSES BOUZOUKI GUITAR TUNING
This is a tuning of the guitar where the lower 4 strings are as in a 4-courses Greek Bouzouki in other words C2-F2-A2-D3 and the higher 3 as in a 3-courses bouzouki in other words D3-A3-D4 . In total C2-F2-A2-D3-D3-A3-D4. It is an open Dm7 tuning
Similarly for If the guitar is child's guitar of scale length 55-58.5 cm then the previous tuning can be raised to the (with standard guitar strings)
F2-Bb2-D3-G3-D4-G4 (or F2-B2-D3-G3-D4-G4 It is an open Gm7 tuning)
THE BOUZOUKI-TAMPOYRAS-BOUZOUKI TUNING OF THE 6-STRING GUITAR
It is a tuning applied in to chidrens 53 cm scale length guitar where the lower 3-strings is a 3-courses bouzouki D2-A2-D3 bouzouki, the hiher 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
Of course there are lower versions of it on an ordinary 66 cm scale lenghth guitar
THE MABDOCELLO-BOUZOUKI TUNING OF THE OUD
This tuning of the oud utlizes only the higher 5-courses and it is
C2C2-G2G2-D3D3-A3A3-D3D4
The lower 4-courses C2C2-G2G2-D3D3-A3A3 is mandocello while the higher 3-courses is a 3-courses bouzouki.
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.
