BARITONE 4-PAIRS OF STRINGS BOYZOUKI.
I have converted also a Greek 4-double string bouzouki (66 cm scale length, it can very well be done with an Irish Bouzouki too) to an alto such Harmonic Tetra-chord with tuning (C3:C2, F3:F2, A2:A3, D3:D4) or to have the chords sounding better the tuning (C3:C3, F3:F3, A2:A3, D3:D4). (alternatively (D3:D2, G3:G2, B2:B3, E3:E4)) which has a better deeper and more appropriate sound for the body of such a Bouzouki instrument sounding like a mandocello, (one octave lower than the standard 4-string Bouzouki (C4:C3, F4:F3, A3:A3, D4:D4) ).
I have converted also a Greek 4-double string bouzouki (66 cm scale length, it can very well be done with an Irish Bouzouki too) to an alto such Harmonic Tetra-chord with tuning (C3:C2, F3:F2, A2:A3, D3:D4) or to have the chords sounding better the tuning (C3:C3, F3:F3, A2:A3, D3:D4). (alternatively (D3:D2, G3:G2, B2:B3, E3:E4)) which has a better deeper and more appropriate sound for the body of such a Bouzouki instrument sounding like a mandocello, (one octave lower than the standard 4-string Bouzouki (C4:C3, F4:F3, A3:A3, D4:D4) ).
Notice that we could have also a half-baritone bouzouki with tuning (C3:C4, F3:F4, A2:A3, D3:D4) or a re-entrance tuning (C3:C4, F2:F3, A2:A3, D3:D4). When playing with the finger nails, it is more convenient to have the lower string up and the higher string down in the 3 higher pairs of strings and inverselly for the 4th lower pair of strings that the tump-nail is used (thus (C4:C3, F3:F4, A2:A3, D3:D4) rather than (C4:C3, F4:F3, A3:A2, D4:D3)). This is so because the natural move of the finger nail is from lower to up, and in order to be sure that the high string is played, it must be put in the lower position in the pair.
For the D3 of the pair D3:D4 I used an 0.56 mm metal covered string of Bouzouki, which in its standard tuning would be the F3 string. For the A3 of the pair A3:A4 I used an 0.71 mm metal covered string of Bouzouki, which in its standard tuning would be the C3 string.
A more bright sound for the chords and solos of the Baritone Bouzouki is achieved if we apply re-entrance tuning as the ukulele does! In other words we may use the next tuning (C4:C3, F2:F3, A2:A3, D3:D4). This tuning is like the baritone-3-pairs of strings Bouzouki below in the 3-pairs of strings (F3:F2, A2:A3, D3:D4), but at the lower pair instead of the (C3:C2), that would be the standard, and it would make the chords not sounding well we substitute the pair (C3:C2) with the pair (C4:C3). In other words the pair is still one octave apart, but also one octave higher than the expected! I consider the tuning (C4:C3, F2:F3, A2:A3, D3:D4) the best for a baritone 4-pairs of strings Bozouki, as 1) it has the lower sound and the low F2 , which is the lowest F of the guitar, but 2) at the same time with re-entrance at the lowest pair (C4:C3) which is an octave higher and remains in the octaves 3, 4, the chords still sound clear and bright. (as we said two or more notes ofthe chord at the octave 2, makes the chord sound blur and not bright) and finally 3) the 4-pairs of strings and 3-pairs of strings baritone Bouzoukis coincide in tuning in the high 3 pairs.
For the F2 of the pair F2:F3, in this tuning I used an 1.07 mm metal covered string of Guitar, which in the guitar standard tuning would be the A2 string. The other strings in this tuning of the baritone Bouzouki, are described before, or are the standard of the Bouzouki strings and tuning.
THE CELLO-BOUZOUKO Recently I have changed the tuning to the more sweet with one octave difference to the the more sweet, with one octave difference to the two higher pairs and 2-octaves difference to the lower pairs. In other words to the tuning
(C2:C4, F2:F4, A2:A3, D3:D4)
Again similar things can be said as previously. This instrument sound much like a bass-guitar or Mandocello, or Greek Lute. In all pairs of strings the strings differ by an octave! 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! An advantage of the tuning by octaves in all pairs of strings, is that of one string from a pair goes slightly out of tuning, the audio effect is not that bad as when both strings of the pair have identical frequencies. This tuning allows for larger range of the instrument, that covers the standard 4-double string Greek Bouzouki but also that of the guitar in lower notes. Another advantage is that playing it with the finger nails one can play a single only string from each pair instead of both, thus allowing for more degrees of freedom and sound effects in melodies.
We summarize
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!
We may compare the previous tuning with the Greek lute tuning.
The Greek Islands lute tuning which has re-entrance t 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)
3.1) I have also converted an ordinary Greek 4-double strings Bouzouki so as to admit nylon strings and sound like the old centuries bouzouki when there where not metal strings. It is also easier and better played with the finger nails rather than a plastic pick.
Notice that for the Greek 4-string Bouzouki, the standard tuning is (C4:C3, F4:F3, A3:A3, D4:D4) . This can be considered the 4 middle double strings of a 6 courses Baroque Lute! But for the Bouzouki with nylon strings we may shift the tuning one note higher as in the 12-string guitar to become
(D4:D3, G4:G3, B3:B3, E4:E4) as it sound brighter but still more sweet like a lute compared to the standard metal-strings bouzouki. This can also be considered the 4 middle double strings of a 6-courses Baroque Guitar! In this way we may play this bouzouki at the 4th high neighborhood with a capo at 12 or no capo (see post 13) , in which case it sounds as the 4-double strings charango or taropatch ukulele or guitarlino, described previously!
If we shift to this tuning then usually the G4 string of the pair G4:G3 will often break. So we substitute it with G3 string making thus the final tuning to (D4:D3, G3:G3, B3:B3, E4:E4).
This nylon strings Greek bouzouki 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.
For Irish Guitar-Bouzouki with naylon strings see also the examples
https://www.youtube.com/watch?v=NMpCoNPZy-g
and
http://www.fyldeguitars.com/custom_guitars/guitar-bouzouki.html
THE CELLO-BOUZOUKO-GUITAR WITH NYLON STRINGS.
Recently I have changed the tuning to a more deep with 2-octaves difference in the lowest pair and one octave to the other pairs. In other words in to the tuning
(D2:D4, G2:G3, B2:B3, E3:E4)
Finally other optimal tuning are the harmonic tuning that is alternating intervals of major and minor thirds, that make a 3-notes chord (see also Harmonic tuning of the guitar in post 90 ) Here it would be
E3E4-G3G4-B3B3-D4D4 or F3F4-A3A4-C4C4-E4E4 or
F3F4-A3A4-C3C4-E3E4 or G3G4-B3B4-D4D4-F4F4
G3G4-Bb3Bb4-D3D4-F3F4
etc
Such tuning (see also post 90 about the harmonic tuning of the guitar ) has the next advantages:
1) the highest density per a number of frets of major or minor triad chords in normal position .
2) They are easier for chords in normal position rather than for inversions(Compared to the standard tuning o 4-double strings bouzouki which is easier for chords in inversions rather than in normal position).
3) The solos are in closer frets to the fingers and we do not need to shift the hand a lot to find the appropriate note.
BARITONE 3-PAIRS OF STRINGS BOYZOUKI OR CELLO-BOUZOUKO.
This is a 3-pairs of strings bouzouki which I have tuned it to
( F2:F3 , A2:A3, D3:D4 ) !
This tuning is optimal for chords as it follows the DAE system (see post 3) and has all 3 inversions of major and minor chords possible to play in only 3 frets.
I used for the F3 , A2:A3, D3:D4 the strings of the 4-double string bouzouki, while for F2, the A2-string of a guitar.
This tuning is optimal for chords as it follows the DAE system (see post 3) and has all 3 inversions of major and minor chords possible to play in only 3 frets.
I used for the F3 , A2:A3, D3:D4 the strings of the 4-double string bouzouki, while for F2, the A2-string of a guitar.
For the D3 of the pair D3:D4, I used an 0.56 mm metal covered string of Bouzouki, which in its standard tuning would be the F3 string. For the A2 of the pair A2:A3, I used an 0.71 mm metal covered string of Bouzouki, which in its standard tuning would be the C3 string. For the F2 of the pair F2:F3, I used an 1.07 mm metal covered string of Guitar, which in its standard tuning would be the A2 string. For the F3 of the pair F2:F3, I used an 0.71 mm metal covered string of Bouzouki, which in its standard tuning would be also the F3 string.
The advantage is that the two high pairs of strings are not repeating but are an octave part, which makes solos more sweet on them, while the 3rd lower string F2:F3 makes chords still sounding well, and again more sweet. This 3-pairs of strings Bouzouki, ranges almost as a guitar when all 6 strings are taken in to account!
Also another important advantage of this tuning of the 3-pairs of strings Bouzouki, is that all the three inversions of a major or minor chord exist as triads (3-notes chords) as the shapes of the guitar chords D, A, E, inherited on the 3-pairs of strings only. (see DAE system post 3) So for any solo that one plays, he can quickly try a major or minor chord in one of the above 3-inversions or shapes that contains the particular note of the melody (even as root of the chord shape). The simplicity of an instrument when it is adequate harmonically and melodically ,sometimes can contribute as major factor for easy and fruitful improvisation.
We summarize
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!
PANDURI TUNING FOR BOUZOUKI (IN THE RANGE OF TAMBOURAS AND BOULGARI)
This tuning is the open D minor or open D major
D2D4-F3F3-A3A3 or D2D4-F#3F#3-A3A3
It has 3 inversions triads for each major o minor chord but the normal form is the simplest.
I used 4-course bouzouki A3 strings for the pair A3 and 4-course bouzouki F3 strings for the pair F3F3. I used a guitar E2 string for D2 and a bouzouki string D4 for the D4 i the pair D2D4.
OPTIMAL TUNING FOR POWER CHORDS (see post 35)
The standard tuning D3D4-A4A4-D4D4 is optimal of course for power chords.But if we want a lower pitch Bouzouki for accompanying with power chords the next 3 tunings seem better
D2D3-A3A3-D3D4 (which is a pattern of octaves taken from Sazi and tambouras and somehow is in the range of them too )
or
D2D4-A3A3-D3D3 which is sweet but it has rentrance on A3A3 or
D2D4-A2A3-D3D3 which is sweet and it does not have rentrance on A2A3
(For the latter I used a E2 guitar string for D2, a D4 bouzouki string for D4 in D2D4 a C2 string (from 4-courses bouzouki) for the A2 of A2A3, a A3 string of bouzouki for the A3 in A2A3 and two C2 strings (of 4-courses bouzouki) for the D3D3 or of course two D3 strings of a 3-courses bouzouki)
The tuning D2D4-A2A3-D3D3 deserves the name Cello-Bouzouko
BUT if we want emphasis on solos rather than chords then for the 3-double strings Buzuki the next alternative tuning is optimal
( E2:E3 , A2:A3, D3:D4 )
This tuning is optimal not for chords as it follows the AE system (see post 26) and has only 2 inversions of major and minor chords possible to play in only 3 frets (compared to the DAE system in post 3), but it is optimal for solos as it is uniform tuning among the strings!
Also another important advantage of this tuning of the 3-pairs of strings Bouzouki, is that all the three inversions of a major or minor chord exist as triads (3-notes chords) as the shapes of the guitar chords D, A, E, inherited on the 3-pairs of strings only. (see DAE system post 3) So for any solo that one plays, he can quickly try a major or minor chord in one of the above 3-inversions or shapes that contains the particular note of the melody (even as root of the chord shape). The simplicity of an instrument when it is adequate harmonically and melodically ,sometimes can contribute as major factor for easy and fruitful improvisation.
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!
PANDURI TUNING FOR BOUZOUKI (IN THE RANGE OF TAMBOURAS AND BOULGARI)
This tuning is the open D minor or open D major
D2D4-F3F3-A3A3 or D2D4-F#3F#3-A3A3
It has 3 inversions triads for each major o minor chord but the normal form is the simplest.
I used 4-course bouzouki A3 strings for the pair A3 and 4-course bouzouki F3 strings for the pair F3F3. I used a guitar E2 string for D2 and a bouzouki string D4 for the D4 i the pair D2D4.
OPTIMAL TUNING FOR POWER CHORDS (see post 35)
The standard tuning D3D4-A4A4-D4D4 is optimal of course for power chords.But if we want a lower pitch Bouzouki for accompanying with power chords the next 3 tunings seem better
D2D3-A3A3-D3D4 (which is a pattern of octaves taken from Sazi and tambouras and somehow is in the range of them too )
or
D2D4-A3A3-D3D3 which is sweet but it has rentrance on A3A3 or
D2D4-A2A3-D3D3 which is sweet and it does not have rentrance on A2A3
The tuning D2D4-A2A3-D3D3 deserves the name Cello-Bouzouko
BUT if we want emphasis on solos rather than chords then for the 3-double strings Buzuki the next alternative tuning is optimal
( E2:E3 , A2:A3, D3:D4 )
This tuning is optimal not for chords as it follows the AE system (see post 26) and has only 2 inversions of major and minor chords possible to play in only 3 frets (compared to the DAE system in post 3), but it is optimal for solos as it is uniform tuning among the strings!
The reasons of being solo optimal are the next
1) The uniformity of tuning of the 1st to 2nd and 2nd to 3rd string as distance by an interval of 4th (5 semitones) it helps much in solos, where the fingers are moving the same among the strings (As the bass is also tuned or Puerto Rican cuatro)
2) There are 4 simple chord shapes in the EA system (see post 26 ). The EA system is perfect when there are only 3-strings! Thsi gives easier chords than the tuning D3-A3-D4, although less inversions than the tuning F3-A3-D4
3) The range is a bit larger than the F3-A3-D4 tuning.
For these reasons, for solos among many scales (and not only for D-major) the tuning by 4ths that is E3-A3-D4, is better than the standard D3-A3-D4.
Finally other optimal tuning are the harmonic tuning that is alternating intervals of major and minor thirds, that make a 3-notes chord (see also Harmonic tuning of the guitar in post 90 ) Here it would be
G3G4-B3B3-D4D4 or G3G4-B3B4-D3D4 or G3G4-Bb3Bb3-D4D4 or
G3G4-Bb3Bb4-D3D4 or A3A4-C4C4-E4E4 or A3A4-C#4C#4-E4E4 or
F3F4-A3A4-C3C4 or F3F4-A4A4-C4C4
etc
Some Russian bass or alto Balalaikas have such tuning inherited from Russian (gypsy) guitar open tuning
Such tuning (see also post 90 about the harmonic tuning of the guitar ) has the next advantages:
1) the highest density per a number of frets of major or minor triad chords in normal position .
2) They are easier for chords in normal position rather than for inversions(Compared to the standard tuning o 3-double strings bouzouki which is easier for chords in inversions rather than in normal position).
3) The solos are in closer frets to the fingers and we do not need to shift the hand a lot to find the appropriate note.
OTHER ALTERNATIVE TUNINGS WITH 3 SINGLE STRINGS AS PANDURI TUNING AT Bb
These tunings have less range than the tunings by 5ths , but also other advantages that we describe here
These PANDURI tunings are not only mainly for playing arpeggios and simplicial submelody, when another ,usually wind , instrument is playing the solo but advantageous, as we explain below when the Bouzouki is playing solo too.
FOR 4 STRINGS BOUZOUKI
This tuning is the
G3-Bb3-D4-F4
For the F4 is used a guitar E4 string and the same for D4. For the Bb4 I used a guitar B3 string. For the G3 I use a guitar G3 string.
or (bass)
G2-Bb2-D3-F3
Other tunings relevant to the F major scale or Bb major scale or G major are the next
F2-A3-C4 (where here we have the Bouzouki with single not double strings) It is an open F major chord
D3-F3-A3(where here we have the Bouzouki with single not double strings) It is an open D minor chord
G3-Bb3-D4 (where here we have the Bouzouki with single not double strings) It is an open G minor chord
Also
G2-Bb2-D4 (where here we have the Bouzouki with single not double strings) It is an open G minor chord (a bit more bass voicing)
G3-B3-D4 (where here we have the Bouzouki with single not double strings) It is an open G major chord and of course for more bass voicing G2-B2-D4
Bb3-D4-F4
which is higher in pitch than the standard 3-courses Bouzouki with more clear sound and easier triad chords and 3-voices harmony in Bb scale. The choice of Bb is due to the Brass winds that have to play with it, either in early Jazz (that I use it sometimes instead of a Banjo) or Greek folk songs
1) The uniformity of tuning of the 1st to 2nd and 2nd to 3rd string as distance by an interval of 4th (5 semitones) it helps much in solos, where the fingers are moving the same among the strings (As the bass is also tuned or Puerto Rican cuatro)
2) There are 4 simple chord shapes in the EA system (see post 26 ). The EA system is perfect when there are only 3-strings! Thsi gives easier chords than the tuning D3-A3-D4, although less inversions than the tuning F3-A3-D4
3) The range is a bit larger than the F3-A3-D4 tuning.
For these reasons, for solos among many scales (and not only for D-major) the tuning by 4ths that is E3-A3-D4, is better than the standard D3-A3-D4.
Finally other optimal tuning are the harmonic tuning that is alternating intervals of major and minor thirds, that make a 3-notes chord (see also Harmonic tuning of the guitar in post 90 ) Here it would be
G3G4-B3B3-D4D4 or G3G4-B3B4-D3D4 or G3G4-Bb3Bb3-D4D4 or
G3G4-Bb3Bb4-D3D4 or A3A4-C4C4-E4E4 or A3A4-C#4C#4-E4E4 or
F3F4-A3A4-C3C4 or F3F4-A4A4-C4C4
etc
Some Russian bass or alto Balalaikas have such tuning inherited from Russian (gypsy) guitar open tuning
Such tuning (see also post 90 about the harmonic tuning of the guitar ) has the next advantages:
1) the highest density per a number of frets of major or minor triad chords in normal position .
2) They are easier for chords in normal position rather than for inversions(Compared to the standard tuning o 3-double strings bouzouki which is easier for chords in inversions rather than in normal position).
3) The solos are in closer frets to the fingers and we do not need to shift the hand a lot to find the appropriate note.
OTHER ALTERNATIVE TUNINGS WITH 3 SINGLE STRINGS AS PANDURI TUNING AT Bb
The word panduri comes from the ancient Greek word PANDOURIS which means made entirely from forest wood. In Arabic , Persian countries was translated to Le ud ("The wooden") and then simply Lute and Ud. The term did not survived in the modern Greek but only as Thampouri or Tamburi, Tamburas. It did survive though in Ucrania as another instrument under the very similar word BANDURA. The word Bouzouki is Turkish and it means mainly "The big one".
These tunings have less range than the tunings by 5ths , but also other advantages that we describe here
These PANDURI tunings are not only mainly for playing arpeggios and simplicial submelody, when another ,usually wind , instrument is playing the solo but advantageous, as we explain below when the Bouzouki is playing solo too.
For solos, the tunings below have the characteristic that we can easily-readily play the 2nd or 3rd voice on the other 2 strings. In addition as the strings are close and differ only at an interval of 3rd, and as most melodies have a span of 1-2 octaves, then all of the melody can be played in one only of the 3 strings (courses) which is quite intuitive in its linear pitch order, as in harp or panflute (except here chromatically not diatonically).
FOR 4 STRINGS BOUZOUKI
This tuning is the
G3-Bb3-D4-F4
For the F4 is used a guitar E4 string and the same for D4. For the Bb4 I used a guitar B3 string. For the G3 I use a guitar G3 string.
or (bass)
G2-Bb2-D3-F3
Other tunings relevant to the F major scale or Bb major scale or G major are the next
F2-A3-C4 (where here we have the Bouzouki with single not double strings) It is an open F major chord
D3-F3-A3(where here we have the Bouzouki with single not double strings) It is an open D minor chord
G3-Bb3-D4 (where here we have the Bouzouki with single not double strings) It is an open G minor chord
Also
G2-Bb2-D4 (where here we have the Bouzouki with single not double strings) It is an open G minor chord (a bit more bass voicing)
G3-B3-D4 (where here we have the Bouzouki with single not double strings) It is an open G major chord and of course for more bass voicing G2-B2-D4
Bb3-D4-F4 (where here we have the Bouzouki with single not double strings) It is an open Bb major chord
For the F4 is used a guitar E4 string and the same for D4. For the Bb4 I used a guitar B3 string.
I currently have and play such a 3-single string bouzouki at the Bb Panduri tuning (open Bb major chord)For the F4 is used a guitar E4 string and the same for D4. For the Bb4 I used a guitar B3 string.
Bb3-D4-F4
which is higher in pitch than the standard 3-courses Bouzouki with more clear sound and easier triad chords and 3-voices harmony in Bb scale. The choice of Bb is due to the Brass winds that have to play with it, either in early Jazz (that I use it sometimes instead of a Banjo) or Greek folk songs
