This 3M-3m-4-3M-4 TUNING wa mentioned in the post 165.
The part 3M-3m is a panduri tuning.
The part 4-3M-4is a ukulele (cuatro) tuning
The 6th, 4th 3rd and 2nd strings (in interval distances it is 5-4-3M) is aSwedish troll tuning
The 6th, 4th 3rd strings (in interval distances it is 5-4) is a greek 3-string bouzouki.
Because ofthe above inclusions this tuning is quite remarkable and I use it in some of my 6-string guitars and OUD.
a permuted version of it is the tuning is the 4-3M-4-3M-3m. The 4-3M-4 is a ukulele cuatro while the 4-3M-3m is Brazilian cuatro or cavaco. So it may be called double cuatro.
The inclusion of the troll tuning (although not in consecutive strings ) gives the next advantage
a) The ukulele part of the tuning 4-3M-4 allows for standard guitar playing of chords
b) The Swedish troll part of the tuning 5-4-3M allows for accomanying with a power root chord 5-4 , complicated soloing on the 2nd (from higher) string that normally would require many major or minor chords for accomanying.
Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.
The part 3M-3m is a panduri tuning.
The part 4-3M-4is a ukulele (cuatro) tuning
The 6th, 4th 3rd and 2nd strings (in interval distances it is 5-4-3M) is aSwedish troll tuning
The 6th, 4th 3rd strings (in interval distances it is 5-4) is a greek 3-string bouzouki.
Because ofthe above inclusions this tuning is quite remarkable and I use it in some of my 6-string guitars and OUD.
a permuted version of it is the tuning is the 4-3M-4-3M-3m. The 4-3M-4 is a ukulele cuatro while the 4-3M-3m is Brazilian cuatro or cavaco. So it may be called double cuatro.
The inclusion of the troll tuning (although not in consecutive strings ) gives the next advantage
a) The ukulele part of the tuning 4-3M-4 allows for standard guitar playing of chords
b) The Swedish troll part of the tuning 5-4-3M allows for accomanying with a power root chord 5-4 , complicated soloing on the 2nd (from higher) string that normally would require many major or minor chords for accomanying.
Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.
