178. THE MANDOCELO-OCTAVE-MANDOLIN TUNING OF THE 6 OR 12-STRING GUITAR

This is the next tuning

For the 6-string guitar

Bb1-C2-G2-D3-A3-E4


Or for the 12-string guitar the


(Bb1:Bb1)-(C2:C2)-(G2:G2)-(D3:D3)-(A3:A3)-(E4:E4)




The -(C2:C2)-(G2:G2)-(D3:D3)-(A3:A3)- is a mandocello, while the

(G2:G2)-(D3:D3)-(A3:A3)-(E4:E4) is an Octave mandolin


The  main advantages for MELODIC IMPROVISATION  of this tuning are:

1) It allows for the ancient isocratic accompanying of fast melodies with an interval of  5 by the two immediate lower strings of the string of the melody

2) The 2-octaves 7-notes scale by alternating intervals of 3 that shape the triad chords in a diatonic scale (called also melodic corridor or wheel by 3rds see post 94 and 79  )  have symmetric representations in this tuning. Of course, this already occurs in the alternating minor-major interval of 3 tuning (A2:A2)-(C3:C3)-(E4:E4)-(G4:G4)-(B4:B4)-(D4:D4).

3) It is uniform tuning for melodies to shift among the strings.

4) The shift higher or lower vertical to the adjacent string or mutation of a melodic theme played horizontally on a string by an interval of 4 or 5 is very easy and symmetric

5) It supports 4 modes of the diatonic scale easily Ionian, Lydian, Mixolydian etc

If we consider the Bb1 very bass to play with an ordinary E2-guitar string then the next modification that eliminates it allows for a 3-courses bouzouki-like tuning at the higher 3 strings


(C2:C2)-(G2:G2)-(D3:D3)-(A3:A3)-(E4:E4)-(A3:A3)

Another way to sweeten the Bb1 is to add in the pair the 2nd string one octave higher. So in total


(Bb1:Bb2)-(C2:C3)-(G2:G2)-(D3:D3)-(A3:A3)-(E4:E4)

or simply re-entrance

(Bb2:Bb2)-(C2:C2)-(G2:G2)-(D3:D3)-(A3:A3)-(E4:E4)

If the instrument is 4-courses than obviously, this tuning reduces to the Octave mandolin or mandocello tuning.

(C2:C2)-(G2:G2)-(D3:D3)-(A3:A3)

This tuning for 4-courses instruments that want to specialize to melodic improvisation more than harmonic improvisation seems to be the best.

If on the other hand both harmonic improvisation and melodic improvisation is required then the mixed tuning

(C2:C2)-(G2:G2)-(B3:B3)-(D3:D3)      (5-3M-3m) seems more appropriate.

177. 4 WAYS OF PLAYING: STRUMMING , HARMONIC IMPROVISATION , MELODIC IMPROVISATION , FINGER PICKING. THE APPROPRIATE TUNINGS AND INSTRUMENTS

There are 4 ways of laying the string instruments

1) Strumming  accompanying chords

2) Harmonic improvisation by more than 50% of the time triads or 4 ,5 notes chords alternated some  times by solos

3) Melodic improvisation by more than 50% of the time by soloing and some times alternating some intervals or chords

4) Finger picking which tries to incorporate equally isocratic bass, isocratic chords and solo with he same instrument.


ALL OF THEM REQUIRE ESSENTIALLY DIFFERENT INSTRUMENTS AND TUNINGS!


E.g.

1) Strumming is done very well with Ukulele, Charango, standard tuning 6-string and 12-string guitars and even 4-courses instruments that are the minimum requirement for 4-notes chords. There are even better tunings from the well known for this (e.g. the harmonic tuning of post 90 applied for 4-courses instruments or 3m-3M-3m versus the well known 4-3M-4) 

2) Harmonic improvisation requires large sounding body for the chords are best tuning is the 3m-3M-3m-3M-3m  versus the well known 4-4-4-3M-4 for 6-string guitar Or another example is the 3-string panduri tuned at an open major chord  3m-3M. Other appropriate tunings for 6 or 7 string guitars are the 3m-3m-3m-3m-3m-(3m) or 3M-3M-3M-3M-3M(-3M)

3) Melodic improvisation is done with instruments usually with deep although small area sounding body so that the single note sound more like "doggy" or "knock" and tunings that involve strings in intervals of 4 or 5. (See posts 160-175) Examples of instruments are violin, lyra, Russian pandouri, saz, Bouzouki, mandola, bass , puerto rican cuatro etc.
When the instrument is tuned uniformly in the strings by intervals of 4 then a span of the 4-fingers over consecutive frets will give when shifting from the last small finger to the next string and first index finger and interval of 2 .While when the instrument is tuned in all strings by intervals of 5 the same continuation motion in the fingers will give an interval of 3. This may explain partially why folk music (e.g. like Irish ) on  instruments tuned by intervals of 5 (e.g. mandocello) have more intervals of 3 compared to folk music (e.g. like puerto-rican  ) on  instruments tuned by intervals of 4 (e.g. like cuatro). 

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