This tuning again for melodic improvisation of the old centuries where fast dancing melodies are accompanied by intervals of 5 (power chords) rather than modern triad chords (major-minor). When melodies are accompanied by isocratic intervals of 5 they are more free to move fast and in complicated ways inside the scale (changing modes e.g. from major to minor and other modes possibly fast) , without having to change their sounding simple accompanying harmony.
In this tuning compared to the previous in posts 160-175 , we abandon comply the requirement that there are in the strings possibilities for many easy major-minor triad chords with 1 or 2 frets. Instead we concentrate in the ability to accompany with the standard power chords of the diatonic scale which have roots in the I-IV-V of the diatonic scale (major mode), that is Ionian mode, Lydian mode and Mixolydian mode. O r with the ionian mode of 3 different scales but consecutive in the wheel by intervals of 4 (or 5).
In addition we prefer the sound of the solo string to be from single strings, while the accompanying interval of 5 from double strings. Therefore the tuning utilizes only 9 of the 12-strings of a 12-string guitar as follows
(G2:D3)-G2-(D3:A3)-D3-(A3:E4)-A3
Somehow this tuning is as if 3 Bouzouki of 3 courses (G-D-G) (D-A-D) and (A-E-A) , or more exactly 3 Balalaikas.
As alternative, we can have the
(G2:G2)-D3-G3-(D3:D3)-A3-D4
(5-4-4-5-4)
or even
(G2:D3)-D3-G3-(D3:A3)-A3-D4
Now we have only tow Bouzoukis, but we can also have the intervals of 3m, 3M on its last two strings.
As alternative, we can have the
(G2:G2)-D3-G3-(D3:D3)-A3-D4
(5-4-4-5-4)
or even
(G2:D3)-D3-G3-(D3:A3)-A3-D4
Now we have only tow Bouzoukis, but we can also have the intervals of 3m, 3M on its last two strings.
If we want also double strings for the solo then it should be
(G2:D3)-(G2G2)-(D3:A3)-(D3:D3)-(A3:E4)-(A3:A3)
or
(G2:D3)-(G2G3)-(D3:A3)-(D3:D4)-(A3:E4)-(A3:A3)
or
(G2:D3)-(G2G3)-(D3:A3)-(D3:D4)-(A3:E4)-(A3:A3)
Alternatively we may utilize the next slight variation of the tuning so that each triad of strings are not two interval of 5 but a genuine power chord .In other words not G2-D3-G2 but G2-D3-G3
So in order to account for the existing strings and their tension the tuning fr this 9-string guitar from a 12-string guitar becomes
(D2:A2)-D3-(A2:E3)-A3-(E3:B3)-E4
OR
(C2:G2)-C3-(G2:D3)-G3-(D3:A3)-D4
(5-4-4-5-4-4-5)
Notice that the strings
(C2:)-...-(G2:)-...-(D3:A3)-..
is already a mandocello
While the strings
(:)-C3-(:)-G3-(:)-D4
Also i the mandocello (they are a 3-courses tambouras) but one octave higher.
and also that the strings (D3:A3)-D4 are already an Irish or Greek 3-courses Bouzouki. Similarly the (G2:D3)-G3 and (C2:G2)-C3.
(Notice that the last 4 strings G3-(D3:A3)-D4 is already the Irish bouzouki in single strings , while the last 3 ,(D3:A3)-D4 the Greek 3-course Bouzouki. The range is from C2 of the cello and mandocello till the Bouzouki)
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.
EITHER WITH FINGERNAILS OF PLECTRUM ALL STRINGS CAN BE PLAYED SEPARATELY EVEN IF THEY BELONG TO THE SAME PAIR OF STRINGS
THIS TUNING ALLOWS ALSO FOR NORMAL FORM MAJOR-MINOR TRIADS USING ONLY 2 FINGERS WITH ONLY 2 OR 3 FRETS (e.g.on the consecutive strings G3-D3-A3).
ALTERNATIVES ARE AGAIN POSSIBLE E.G.
THE MANDOCELLO-OCTAVE-MANDOLIN TUNING
(C2:C2)-(G2G2)-(D3:D3)-(A3:D3)-(E4:E4)
(5-5-5-5)
OR THE CONSECUTIVE BOUZOUKIS
(D2:D2)-(A2:A2)-(D3:D3)-(A3:A3)-(D4:D4)
(5-4-5-4)
