THE MANDOLA-LELE
(OR TENOR MANDOLA OR OCTAVE MANDOLIN (CHICAGO TUNING)) The same size (58 cm scale length in other words exactly as long as the scale length of a tenor guitar ) is also an Octave mandolin which can be tuned in a different way (G3:G2, C3:C4 , E3:E4, A3:A4). As alternative tuning is the (D3:D4, G4:G3, B3:B3, E4:E4) (alternative tuning is (C3:C4, F4:F3, A3:A3, D4:D4) which an open chord, D minor dominant 7nth, Dm7. If there would exist thinner strings at this length it could also be tuned (D3:D4, G4:G3, B3:B4, E4:E5). or (C3:C4, F4:F3, A3:A4, D4:D5). But from all these alternatives the tuning (G3:G2, C3:C4 , E3:E4, A3:A4) seems better, because is has all pairs of strings with one octave difference which obviously makes he sound more rich compared say to a tenor ukulele. At the same time one can use existing strings e.g. from a 12-string guitar as it ranges approximately as a guitar if all 8 strings are taken in to account. The standard tuning of an octave mandolin (in Europe also called tenor mandola) is the (G2:G2 D3:D3 A3:A3 ,E4:E4). Notice that at the lower pair of strings G3:G2, the higher note string is put first and then he lower. The reason is that I play it mainly with the finger nails. The three finger nails struck usually from down to up, so the convenient setting of the strings in the first 3 strings is down the higher up the lower.But the 4th lower pair is struck usually with the thump nail, and it is usually from up to down, that is inversely.
(OR TENOR MANDOLA OR OCTAVE MANDOLIN (CHICAGO TUNING)) The same size (58 cm scale length in other words exactly as long as the scale length of a tenor guitar ) is also an Octave mandolin which can be tuned in a different way (G3:G2, C3:C4 , E3:E4, A3:A4). As alternative tuning is the (D3:D4, G4:G3, B3:B3, E4:E4) (alternative tuning is (C3:C4, F4:F3, A3:A3, D4:D4) which an open chord, D minor dominant 7nth, Dm7. If there would exist thinner strings at this length it could also be tuned (D3:D4, G4:G3, B3:B4, E4:E5). or (C3:C4, F4:F3, A3:A4, D4:D5). But from all these alternatives the tuning (G3:G2, C3:C4 , E3:E4, A3:A4) seems better, because is has all pairs of strings with one octave difference which obviously makes he sound more rich compared say to a tenor ukulele. At the same time one can use existing strings e.g. from a 12-string guitar as it ranges approximately as a guitar if all 8 strings are taken in to account. The standard tuning of an octave mandolin (in Europe also called tenor mandola) is the (G2:G2 D3:D3 A3:A3 ,E4:E4). Notice that at the lower pair of strings G3:G2, the higher note string is put first and then he lower. The reason is that I play it mainly with the finger nails. The three finger nails struck usually from down to up, so the convenient setting of the strings in the first 3 strings is down the higher up the lower.But the 4th lower pair is struck usually with the thump nail, and it is usually from up to down, that is inversely.
For the A3 of the pair A3:A4, and for the E3 of the pair E3:E4 I used an 0.56 mm metal covered string of Bouzouki, which in its standard tuning would be the F3 string. For the C3 of the pair C3:C4, I used an 0.71 mm metal covered string of Bouzouki, which in its standard tuning would be the C3 string. For the G3 of the pair G3:G2, I used an 0.76 mm metal covered string of Guitar, which in its standard tuning would be the G3 string. For the G2 of the pair G3:G2, I used an 1.07 mm metal covered string of Guitar, which in its standard tuning would be the A2 string.
Normally the tenor mandola would take strings of diameter 0.30mm, 0.40mm, 0.65mm, 0.90 mm I used some of the strings of tenor mandola (or octave mandolin) especially the E4 of diameters 0.3 mm.
I have tried to modify the above (G3:G2, C3:C4 , E3:E4, A3:A4) tuning to the more deep and smooth (G2:G4, C5:C3 , E3:E4, A3:A4), still I have not find a an appropriate metal string for 58cm scale length that wold give the C5. Nevertheless the tuning (G2:G4, C4:C3 , E3:E4, A3:A4) is entirely feasible.
Obviously a standard ukulele tuning would be possible too, which is the
(G3:G4, C4:C4 , E4:E4, A4:A4)
For such a tuning, we may use for the A4, the G4 strings of a 12-string guitar or the D4 strings (highest) of Saz instrument (see below end of post), for E4 , the E4 strings of a 12-string guitar, for C4 , the B4 strings of a 12-string guitar, for G4, a E4 or G4 string of a 12-string guitar, and for the G3, a G3 string or an A3 string of a 12-string guitar.
Alternatively so as to play many folk Greek or Byzantine songs that are written in G minor (either natural or harmonic or double harmonic) a tuning at Bb major is required which is the
(F3:F4, Bb3:Bb4 , D4:D4, G4:G4) .
We could call his instrument with this tuning, Bouzoukolino, or Bouzoukulele as it is a 5th higher than an ordinary Bouzouki, although as range it starts from the lower of the Bouzouki (Greek) but goes higher than this. Or it could be called Mandolalele as it is in the body of an octave mandolin but with tuning as a ukulele.
We may compare the range of this tuning with the range of the Portuguese guitar Lisbon tuning , and realize that it is larger with less pairs of strings, and still it goes (except one tone) as high as that of the Portuguese guitar! (D3D4, A3A4, B3B4, E4E4, A4A4, B4B4).
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!
Notice that for the Greek 4-string Bouzouki, the standard tuning is (C4:C3, F4:F3, A3:A3, D4:D4) ) .To get the full advantage of this tuning you have to play the instrument with the finger nails rather than a plastic pick! After all the 4 finger nails are like 4 picks and the hand and fingers has the skill to combine playing all these 4 picks with various way! Now that instruments a are electro-acoustic, the goal of loud sound is not important so the main advantage of the plastic pick to give loud sound is not significant.
THE PREFERENCE OF THE B FLAT SCALE
It seems that in various cultures there is a systematic preference of the Bb major scale and its minor mode G in various chromatic versions natural G minor, harmonic G minor, double harmonic G minor, etc
1) Most of the old centuries folk Greek songs (dimotika) seem to be ton Bb scale
2) Most of the Greek rebetika seem to in G chromatic minors and D chromatic minors
3) The natural scales of Trumpet and clarinet is in Bb.
4) It seems that early new Orleans Jazz (that utilizes trumpet and clarinet) is in Bb scale (e.g. see Tuba skinny https://www.youtube.com/watch?v=wk64II0TGCk )
What is the real reason? Difficult to say. But the next video finds the reason on the pineal gland the the link of the soul to the body https://www.youtube.com/watch?v=8vP72lFnrDk
Thus a guitar or mandola-lele with privileged scale the Bb instead of the standard G major would be advantageous to play such music.
And as 4-strings (or 4-double strings) tenor guitar version this Bb tuning would be
(from lower pitch to higher and as single strings ) F3-Bb3-D4-G4
