176. THE IONIAN-LYDIAN-MIXOLYDIAN 3-BOUZOUKIs, 9-STRINGS TUNING 5-4-4-5-4-4-5-4 OF THE 12-STRING GUITAR for melodic improvisation accompanied by intervals of 5

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.

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)

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)

175 .THE IONIAN-AEOLIAN-MIXOLYDIAN A2-C2-E3-G3-D3-G4 3m-3M-3m-5-4 TUNING , SLIGHT MODIFICATION OF THE HARMONIC TUNING OF THE 6-STRING GUITAR AND OUD

(SEE ALSO POST 90 AND 164) 

A2-C2-E3-G3-D3-G4  3m-3M-3m-5-4 (privileged scale C major)

or 

B2-D2-F#3-A3-E3-A4  3m-3M-3m-5-4 (privileged scale D major)

(For 53 cm scale length children guitars)

ALSO NOTICE THAT THE ISOCRATIC INTERVALS OF 5 THAT ACCOMPANY FAST DANCING FREE MELODIES ARE THE A2-(C2)-E3  , C2-(E3)-G3, G3-D3-(G4) THAT ARE THE IONIAN  AEOLIAN  AND MIXOLYDIAN MODES  C MAJOR SCALE.

For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

G2-Bb2-D3-F3-C3-F4

with privileged scale the  Bb major or 

F#2-A2-C#3-E3-B3-E4

with privileged scale the  A major or 

E2-G2-B3-D3-A3-D4

with privileged scale the  G major or 

The above tuning seems to be one with the almost maximum number of possible accompanying intervals of 5 which also allows for (here at least 2 rows) of easy 1 or 2 frets major-minor triads

It can be considered also a minor triad panduri in lower 3-strings consecutive higher  at an interval of minor 3 of a 3-courses Bouzouki

174 THE 5-3M-3m-5-5 TUNING F2-C2-E3-G3-D4-A4 OFTHE 6-STRING GUITAR AND OUD

This is the tuning


F2-C2-E3-G3-D4-A4  (for a children's 53 cm scale length guitar)

The C2-E3-G3 is an open  C major . 
Because the intermediate  strings F2-C2-E3-G3-D3 are of  intervals of 5 and 3 apart,  it allows for 3 rows of easy ordinary major and minor chord triads in 1-2 (rarely 3) frets! The privileged scale is the C major 




ALSO NOTICE THAT THE ISOCRATIC INTERVALS OF 5 THAT ACCOMPANY FAST DANCING FREE MELODIES ARE THE F2-C2  , C2-(E3-)G3, G3-D4 THAT ARE THE IONIAN  LYDIAN AND MIXOLYDIAN MODES  C MAJOR SCALE.

For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

Eb2-Bb2-D3-F3-C4-G4

with privileged scale the Bb major

The above tuning seems to be one with the almost maximum number of possible accompanying intervals of 5 which also allows for (here at least 2 rows) of easy 1 or 2 frets major-minor triads

173.THE TAMBOURAS-TAMOURAS APART BY A MINOR OR MAJOR INTERVAL OF 3 OR 4 5-5-3m-5-5 or 5-5-4-5-5 TUNING OFTHE 6-STRING GUITAR OR OUD

This is the tuning


D2-A2-E3-G3-D4-A4  (for a children's 53 cm scale length guitar)

It is a 3-courses tambouras  D2-A2-E3  and an interval of minor of 3 higher a 3-curses tambouras or sazi G3-D4-A4.

Because the intermediate 4 strings A2-E3-G3-D4 have an minor  interval of 3  they it allows for two rows of ordinary major and minor chord triads that use  up to 3 frets.

Notice that the notes of the over all tuning D-E-G-A are notes that belong to  5-tonic scales

If the intermediate interval is that of major 3 it is the tuning

Db2-Ab2-Eb3-G3-D4-A4 


For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

C2-G2-D3-F3-C4-G4

The above tuning seems to be  one with the absolute maximum number of strings an interval of 5 apart which also allows for easy up to  3 frets major-minor triads

Notice that the open intervals of 5 (power chords) that can accompany solos are the D-A (D minor or major chord) G-D (G major or minor chord) and A-E (A major or minor chord) and G-D-A are already in distances by interval of 5 that as as if   I-IV-V chords of D major or D minor diatonic scales


An alternative that the two tambouras are an interval of 4 LOWER re-entrance E.g.


F2-C3-G3-D3-A3-E4

5-5-(4)-5-5

173 THE BOUZOUKI-TAMBOURAS AN INTERVAL OF MAJOR 3 APART 5-5-3M-5-5 E2-B2-E3-G3-D4-A4 TUNING OF THE 6-STRING GUITAR AND OUD

This is the tuning


Eb2-Bb2-Eb3-G3-D4-A4  (for a children's 53 cm scale length guitar)

It is a 3-courses bouzouki Eb2-Bb2-Eb3  and an interval of major of 3 higher a 3-curses tambouras or sazi G3-D4-A4.

Because the intermediate 3 strings Bb2-Eb3-G3 are of  intervals of 4 and 3 apart, it isanopen Eb major   it allows for ordinary major and minor chord triads with easy dominant and major 7nths.




For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

Db2-Ab2-Db3-F3-C4-G4

The above tuning seems to be  one with the almost maximum number of strings an interval of 5 apart which also allows for easy 1 or 2 frets major-minor triads

172 THE BOUZOUKI-TAMBOURAS AN INTERVAL OF MINOR 3 APART E2-B2-E3-G3-D4-A4 5-4-3m-5-5-5 TUNING OF THE 6-STRING GUITAR AND OUD

This is the tuning


E2-B2-E3-G3-D4-A4  (for a children's 53 cm scale length guitar)

It is a 3-courses bouzouki E2-B2-E3  and an interval of minor of 3 higher a 3-curses tambouras or sazi G3-D4-A4.

Because the intermediate 3 strings B2-E3-G3 are of  intervals of 4 and 3 apart, and it is an open Em the  B2-E3-G3-D4 is an open Em7 or G6 it allows for ordinary major and minor chord triads with easy dominant and major 7nths.


NOTICE THAT  THE NOTES ARE OF PENTATONIC SCALE

ALSO NOTICE THAT THE ISOCRATIC INTERVALS OF 5 THAT ACCOMPANY FAST DANCING FREE MELODIES ARE THE E2-B2  , G3-D4, THAT ARE THE IONIC AND AEOLIAN MODES OF g MAJOR SCALE.

For the oud and for a standard 66 cm scale length guitar one tone lower is more appropriate

D2-A2-D3-F3-C4-G4

The above tuning seems to be  one with the almost maximum number of strings an interval of 5 apart which also allows for easy 1 or 2 frets major-minor triads

171 THE D2-G2-C3-G3-D4-A4 TUNING 4-4-5-5-5 or 4-5-5-5-5 FOR THE 6-STRING GUITAR AND OUD

This is the tuning


D2-G2-C3-G3-D4-A4 tuning (for a children's 53 cm scale length guitar or on a mandola)



Because the highest 3 strings D2-G2-C3 are of equal intervals of 4 apart, it allows for ordinary major and minor chord triads with easy dominant and major 7nths.

Notice that the 4-strings G2-D4-A4 is already an  Irish bouzouki tuning


For the Oud and even a 66cm scale length standard 6-string guitar it is more appropriate the tuning one tone lower :

C2-F2-Bb3-F3-C4-G4


An alternative is the inverted Bouzouki-tambouras separated by an interval of that is 4-5-5-5-5

or

C2-F2-C3-G3-D4-A4 tuning (for a children's 53 cm scale length guitar or a mandola)

and for the Oud


C2-F2-C3-G3-D4 (see also  post 163)

The above tuning seems to be  one with the almost maximum number of strings an interval of 5 apart which also allows for easy 1 or 2 frets major-minor triads

It has the minor-major triads at lowest pitch

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.