253. THE 4-DOUBLE-STRINGS GUITAR-LUTE

THE 4-DOUBLE-STRINGS GUITAR-LUTE

(OR NORMAL AND BARITONE 8-STRING GUITAR (8-string Baroque guitar) FROM A 12-STRING GUITAR).

I have converted a 12-string guitar to a 8-string guitar by simply , eliminating the 6th and 5th pairs of strings. The reason to use an 8-string guitar instead ofa 12-string guitar, is that a 12-string guitar requires much force in the left hand, and in addition , an 8-string guitar has more perfect voicing of the chords. The elimination of the 2 lower pairs of the 12-string guitar , makes it easier also to play as far a muscular effort of the left hand is concerned.

The inherited tuning from the 12-string guitar is of course, the (D4:D3, G4:G3, B3:B3, E4:E4). The sound is very fine and I believe it sounds better than a standard 4-double string Greek bouzouki with tuning (C4:C3, F4:F3, A3:A3, D4:D4) . I call this instrument a normal 8-string or 4-double strings guitar from a 12-string guitar. It is tuned as a baritone ukulele, but of course due to the larger size of the wooden body, the sound is richer and deeper.  

I have nevertheless a second 12-string guitar which again I have converted to a 8-string guitar, but with different tuning. The tuning I use is the (D3:D2, G2:G3, B2:B3, E3:E4). The reason that I set this tuning and not the (D4:D3, G4:G3, B3:B3, E4:E4) as previously , is that the former has a range at the lower frequencies the same and  actually slightly lower than a usual 6-string guitar. I call thsi instrument a baritone 8-string or 4-double strings guitar from a 12-string guitar.   This range of this guitar is very close to the range of the cello and mandocello !

(A slight variation of this tuning is the (D3:D2, G3:G4, B2:B3, E3:E4). The reason for such a variation is to make it a bit higher in the range and make the chords sound clearer. We may call it the light baritone -8string guitar from  a 12-string guitar. )

The advantages-disadvanges  of this tuning are

1) because the 3 higher in pitch pairs of strings have high notes , like G3, B3, E4, the chords are heard clear

2) Because of the D2 string it has sufficient bass range , in fact larger than the 6-string guitar , and it goes one tone lower than it, So it sounds close to the mandocello.

3) Compared to the tuning (D4:D3, G4:G3, B3:B3, E4:E4), the tuning (D3:D2, G3:G4, B2:B3, E3:E4), makes the instrument sound closer in range to the 6-string guitar, as it has notes in the 2nd octave too! 

4) Compared to the tuning baritone (D3:D2, G3:G2, B2:B3, E3:E4), the light baritone tuning (D3:D2, G3:G4, B2:B3, E3:E4), is softer in the pressures of the hand.

5) Because the two lower in pitch pairs D3:D2, G3:G4, have opposite octaving, that is the G3:G4,  has re-entrance and shift the 2nd string one octave higher, while the first pair D3:D2,  shifts the 2nd string one octave lower, when playing melodies that use both these two strings, the sound of the pitch sounds as if it jumps one octave . This can be improved if we eliminate the G4 in the pair G3:G4 and we turn it to G3:G3, in other words with the tuning (D3:D2, G3:G3, B2:B3, E3:E4). Also because the G4-string in the pair G4:G3 breaks often, we may replace this pair with the G3:G3.   Finally because the total sound is a bit more bass than usual we may try the next tuning (D4:D2, G3:G3, B2:B3, E3:E4)! Notice that the pair D4:D2 has 2-octaves distance! In this way at the cost a bit of  the pitch uniformity, we succeed to have bass notes like D2 which is lower than a normal 6-string guitar, while at the same time high pitch strings like D4, B3, E4, which also exist in a normal 12-string tuned guitar.

So for the E4 of the 1st pair, I use an E4-guitar n string of the 12-string guitar. For the E3 of the 1st string I use an  D3-string of the guitar. For the B3 of the 2nd pair, I use a  B3-string of the guitar. For the B2 of the 2nd pair, I use a  A2-string of the guitar. For the G3 of the 3rd pair, I use again a  G3-string of the guitar. For the G2 of the 3rd pair, I use a A2-string of the guitar. For the D3 of the 4th pair I use a  D3-string of the guitar (or a E3 string of the 12-string guitar)  . For the D2 of the 6th pair, I use a E2 string of the guitar. 

This tuning of a converted 12-string  guitar, gives a deep bass  frequencies sound, as all the  strings are "octaved" at an octave lower.It is suitable for large body instrument bodies. The disadvantage is that the chords are voiced with low frequencies and thus are not so vivid and easy to grasp by the ear.  This is partially corrected by the next alternative tuning based on A3 on the 1str string rather than E4. But the advantage of the current tuning based on E4 is that the 1st string, still has an E4, and the usual mapping of the chords on the 6-string guitar, (after truncation) still are the same on this 8-string tuning. 

This tuning (D3:D2, G2:G3, B2:B3, E3:E4) can be done also in the 12-string guitar with nylon string also. In which case again for the E4 of the 1st pair, I use an E4-guitar n string of the nylon 6-string guitar. For the E3 of the 1st string I use an  D3-string of the guitar. For the B3 of the 2nd pair, I use a  B3-string of the guitar. For the B2 of the 2nd pair, I use a  A2-string of the guitar. For the G3 of the 3rd pair, I use again a  G3-string of the guitar. For the G2 of the 3rd pair, I use a A2-string of the guitar. For the D3 of the 4th pair I use a  D3-string of the guitar (or a E3 string of the 12-string guitar)  . For the D2 of the 6th pair, I use a E2 string of the guitar. 

An alternative way to tune and play it, maybe to tune it is the 8-string tenor guitrar with nylon strings but here with metal strings, or as the tenor mandola is 3) below.

 In more detail we may use the tuning (G3:G2, C3:C4, E3:E4, A3:A3), 

with metal strings of the 12-string guitar. So for the A3 of the 1st pair, we use an G3-guitar metal string.  For the E4 of the 2nd pair, we may use a metal  E4-string of the guitar. For the E3 of the 2nd pair, we may use a metal D3-string or better a G3-string of the guitar. For the C4 of the 3rd pair, we may use a metal B3-string or better a E4-string of the guitar. For the C3 of the 3rd pair, we may use use a metal A3 string or better a D3-string of the guitar. For the G3 of the 4th pair, we may use  a metal G3. And for the G2 of the 4th pair we may use a metal E2-string or better a A2 string of the guitar.

The advantage of this tuning is that the chords are vivid and easier to grasp by the ear compared to the previous tuning based on E4, and also still the bass frequencies and range of a guitar exists in this tuning. The disadvantage is that the 1st pair of strings has to have a re-entrace on A3 rather than A4. Maybe with special E4 strings the pair, A3:A3 could become A3:A4, but with stanrad E4-strings of a guitar this is most often not possible as the E4 string brakes after some re-tunings. 

The tuning (D3:D2, G2:G3, B2:B3, E3:E4) as we said should be considered a Baritone 8-string guitar. The chords are at a lower range and are not so vivid. Therefore for an accompanying guitar may not be recommended this tuning. On the other hand a slightly different way to octave the strings, may result to a higher range, therefore not a baritone 8-string guitar, which is appropriate for the chords and accompanying, and this is the tuning (D4:D3, G4:G3, B2:B3, E3:E4). Notice that the two higher strings B3, E4 are octaved at a lower octave and the two lower strings D3, G3 at a higher octave. The sounding creates the feeling of a slight re-entrance, but the over all sound of the chords is vivid, and the bass are preserved, compared to the tuning

(D4:D3, G4:G3, B4:B3, E4:E4), which has not bass notes and the range is limited. I have converted a 12-string Taylor guitar to an 8-string guitar (because it is played with less muscular effort than the 12-string guitar and had more perfect chord voicing) with the tuning (D4:D3, G4:G3, B2:B3, E3:E4).

I have used a d3-string for the 2nd lower string E3 of the 1st pair E3:E4. I have used also a d3-string for the 2nd lower string B3 of the 1st pair B2:B3. It is better a d3-string for the 2nd lower string B3 of the 1st pair B2:B3 , than a a3-string as the diameter of the string is less, thus less difference from the diameter of the b3-string, and also the tension lower which makes it softer to play. The strings for the  pairs D4:D3, G4:G3, are exactly as in a 12-string guitar. 

After some time, I changed the tuning to the (D4:D2, G4:G2, B2:B3, E3:E4). The sound is very smooth and beautiful! Notice that the lower pitch string in all pairs are a continuity without re-entrance while only the higher pitch strings make re-entrance. The lower pitch string range in the octaves 2, 3 , while the higher pitch strings in the pairs in the octave 4. In this way this 4-double strings guitar has wider range than the 6-string guitar, (in the open strings) , while its is softer in muscular effort and chord shapes to play it compared to a 12-string guitar! It is a bit more muscular effort though than a 6-string guitar, but is has also richer sound! From all the tuning of the 4 double strings guitar  I prefer this one, the (D4:D2, G4:G2, B2:B3, E3:E4)! This is  my favorite tuning for the 4-double string LUTE-guitar or Cello-guitar

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! 

Still an alternative tuning for such a body of a 12-string guitar is like the Greek 4-double string Bouzouki, in other words (C4:C3, F4:F3, A3:A3, D4:D4) . or baritone version (C4:C3, F4:F3, A2:A3, D3:D4). This tuning still does not go as low in pitch as  a cello and mandocello! But the corresponing shift of the tuning (D3:D2, G3:G4, B2:B3, E3:E4), one tone lower , in other words the (C3:C2, F3:F4, A2:A3, D3:D4), goes exactly as deep in pitch as a cello and mandocello! 

Notice also that the lower octaving at the higher strings and higher octaving at the lower strings is also how the saz instruments (see below) is octaved. 

We may compare the previous tuning with the Greek lute tuning. Notice that the range of the 8-string guitar tuning (D4:D3, G4:G3, B2:B3, E3:E4) is just one tone higher than the Greek island range of the Lute.

The Greek Islands lute tuning which has re-entrance at 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)

I have also a 12-string guitar but with nylon strings! It is softer to play, and the slight out of tune cases of a 12-string guitar , are not highlighted as with the metal string 12-string guitar. I used a e4-string for the 2nd higher g4 of the g3-string, again an e4-string for the 2nd higher d4 of the d3-string, an  g3-string for the 2nd higher a3 of the a2-string, and an d3-string for the 2nd higher e3 of the e2-string. The nylon strings have larger amplitudes of the metal strings, so the necessary 12-string guitar body, must have the strings of pair of strings not too close. I also raised the right bridge to be sure that the nylon strings do not hit the fretboard at strong strumming. I used at first to test that is feasible to have a 12-string guitar with nylon strings, a J&D 12-string guitar, because it had larger distances among the strings in each pair. 

This nylon strings Greek bouzouki below  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.

2.1.1) The GUITAR-CELLO (or Guitar-Oud) :

I have converted an ordinary 6-string guitar to a 4-string guitar-cello with tuning

(C2, F2, A2, D3) which is in the lower range of a cello. It may be also considered a type of Guitar-oud. 

THE PANDURI-TAMOURAS-BOUZOUKI GUITAR TUNING:

This is a very efficient tuning of a 6-string guitar,which combines an open D major (or minor ) panduri on the lower 3 strings inother words D2-F2#-A2 (or D2-F2-A2)  , a 3-string tampoura on the 4th,3rd-2nd  strings in other words A2-D3-A3, and a 3-string bouzouki on the 1st 2nd and 3rd string in other words D3-A3-D3 .Inover all the 6-string tuning is 

D2-F2#-A2-D3-A3-D4  (or D2-F2-A2-D3-A3-D4 ) which is also an open D major tuning (or open D minor tuning). 

The chords are played by triads on the 3 lower strings only (as in Zither where the strings for accompanying chords are separte from the strings for solo) , and are easy as the need only 1 or 2 frets. The 3 or 4 higher strings are used for the isocratic melody playing wich is accompanyind by an intervalof 5,as it is usual in 3-string Bouzouki and tambouras

If the guitar is child's guitar of scale length 55-58.5 cm then the previous tuning can be raised to the (with standard guitar strings) 

G2-B2-D3-G3-D4-G4  (or G2-Bb2-D3-G3-D4-G4 ) which is also an open G major tuning (or open G minor tuning) which is very sweet in listening. 

THE 4-COURSES AND 3-COURSES BOUZOUKI GUITAR TUNING 

This is a tuning of the guitar where the lower 4 strings are as in a 4-courses Greek Bouzouki in other words C2-F2-A2-D3 and the higher 3 as in a 3-courses bouzouki in other words D3-A3-D4 . In total   C2-F2-A2-D3-D3-A3-D4. It is an open Dm7 tuning

Similarly for  If the guitar is child's guitar of scale length 55-58.5 cm then the previous tuning can be raised to the (with standard guitar strings) 

F2-Bb2-D3-G3-D4-G4 (or F2-B2-D3-G3-D4-G4 It is an open Gm7 tuning) 

THE  BOUZOUKI-TAMPOYRAS-BOUZOUKI TUNING OF THE 6-STRING GUITAR

It is a tuning applied in to chidrens 53 cm scale length guitar where the lower 3-strings is a 3-courses bouzouki D2-A2-D3 bouzouki, the hiher 3 are a 3-courses A3-E4-A4 bouzouki and the 2nd 3rd and 4th strings are tampouras tuned in D3-A3-E4 . In total

D2-A2-D3-A3-E4-A4

Of course there are lower versions of it on an ordinary 66 cm scale lenghth guitar

THE MABDOCELLO-BOUZOUKI TUNING OF THE OUD

This tuning of the oud utlizes only the higher 5-courses and it is 

C2C2-G2G2-D3D3-A3A3-D3D4

The lower 4-courses C2C2-G2G2-D3D3-A3A3 is mandocello while the  higher 3-courses is a 3-courses bouzouki.

THE PANDURI-BOUZOUKI TUNING OF THE OUD

This tuning of the oud utlizes only the higher 5-courses and it is 

B1B1-G2G2-D3D3-A3A3-D3D4

The lower 3-courses B1B1-G2G2-D3D3 is an open G major pandiuri tuning (inverted form of the chord) while the  higher 3-courses is a 3-courses bouzouki.

252. ALTERNATIVE TUNINGS TO GREEK BOUZOUKI . BOUZOUKI WITH NYLON STRINGS AND 3 OR 4 SINGLE STRINGS BOUZOUKI WITH PANDURI Bb MAJOR (G MINOR) TUNING

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) ).

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.

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!

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 

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)

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

251. THE MANDOLA-LELE

 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. 

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

250. THE MANDO-LELE (UKULELE IN CHARANGO BODY IN THE PITCH OF MANDOLIN) OR GUITALELE WITH NYLON STRINGS

 THE MANDO-LELE OR GUITARLINO WITH NYLON STRINGS I have also a charango-ukulele or charango-mandolin (GUITARLINO, TAROPATCH ) of 37.5 cm scale length (same as he concert ukulele) , and with nylon strings, with the same tuning   (D5:D4, G4:G4, B4:B4, E5:E5). in other words with the BODY SIZE OF CONCERT UKULELE BUT tuning of  double string  soprano ukulele . The soprano ukulele has scale length about that of a mandolin. 
The 37,5 cm scale length corresponds to the E4 string of the standard guitar to the D5 note.

Notice that the normal tuning of a charango is (G4 G4 - C5 C5 - E5 E4 - A4 A4 -E5 E5)
Therefore the range of the suggested tuning (D5:D4, G4:G4, B4:B4, E5:E5) has as lowest the D4, which is lower than the lowest of the normal charango tuning the E4. 

For the strings I used strings from the charango set of strings. I used the charango high 1st pair E5:E5, for the high 1st pair of the charango-mandolin. I used the pair C5:C5 of the charango strings for the pair B4:B4 of the charango-mandolin. I used the pair A4:A4 of the charango or the pair G4:G4 for the pair G4:G4 of the new charango-mandolin. And I used the re-entrance pair E5:E4 for the re-entrance pair D5:D4 of the charango mandolin. In order to have the range of the classical tenor ukulele  or of the mandolin one may resort to the next octaved tuning:  (D5:D4, G3:G4, B4:B4, E5:E5). In which case only the G3 string of the 3rd pair G3:G4 is different from the original tuning (D5:D4, G4:G4, B4:B4, E5:E5). We may use a G3 string of a ukulele.

The fretboard of this charango-mandolin is of larger width than the width of the fretboard of a mandolin, which makes it easier to play chords. The sound of the nylon strings somehow in the chords is better too and hides better the slight out of tuning that may occur.

In order to have even lower the range one may resort to the next octaved tunings (D3:D4, G3:G4, B4:B4, E5:E5). or even lower to the (D3:D4, G3:G4, B3:B4, E4:E5). For the E4 of the E4:E5 one may utilize an guitar D3 string. For the B3 of the B3:B4 one may utilize a guitar A2-string. For the G3 of the G3:G4 one may utilize a guitar E2-string. For the D3 of the D3:D4 one may utilize a guitar E2-string.

The body can be also of a concert-size ukulele with 8-strings or TAROPATCH, of 38 cm scale length , but instead of tuning this taropatch as a ukulele we tune as above at the range of mandolin and charango, in other words as a tuning of the sopranino ukulele but with double strings. The taropatch has scale length as the concert ukulele of  37-38 cn 
The 38 cm scale length corresponds to the E4 string of the standard guitar to the D5 note.
The 33 cm scale length corresponds to the E4 string of the standard guitar to the E5 note.

249. THE UPPER REGISTRY FLUTES (28< LENGTH/BORE ID RATIO< 48) FOR HAPPIER MELODIES

THE UPPER REGISTRY WHISTLES (28< Length / bore ID ratio  <48) FOR HAPPIER MELODIES
In  this category belongs also the concert flute (especially if we substitute the upper head join with a fipple) Its ratio L/B=33. Other traditional flutes in this category are many recorders and also it is the Ney if we adopt a fipple instead of rim-blowing and also the kaval flutes too. Such types of  flutes and whistles are designed for happier music and melodies where we start at the higher registry (octave) we may move to the lower registry (octave) and we end the melody in the higher registry (octave_ again. Such whistles when blowing normally they play directly to the 2nd registry (octave) while when we want to play to the lower 1st registry (octave) we have to underblow carefully. This is  the inverse with the standard whistles that when we blow normally they play in the 1st registry and in order to play in the 2nd registry we must overblow.
In the next picture we see two such tunable whistles one in major D4 and one in major C4 with L/B ratios respectively the D4  55cm/1.65cm=33.33 and the C4 63cm/1.65cm= 38.18

I have made on more in F4 with L/B ratio equal to 47.5cm/1.2 cm=39.58

The next photo is of a tunable G4 , PVC Romanian Caval (double and simple harmonic minor with 2+4 front holes and thump at F#). Length/Bore=42.cm/1.2cm=35. See also post 242

248. A DIFFERENTLY EFFICIENT TUNABLE ROMANIAN CAVAL IN A3 WITH THUMB HOLE FIPPLE AND FROM PVC

This PVC Romanian caval has inner diameter 20 mm and Lenghth/bore  ratio  L/B=74 cm/2 cm=37. Therefore it is in the category (see post 199 or 248 ) of the upper registry flutes and not overtone flutes. In other words it can play with the 1st harmonic the 1st octave decently but the 2nd harmonic it plays easier the 2nd octave.

We remind the reader that in the online notes here we call a sequence of 7 interval that sum-up to 12 semitones a mode and all cyclic permutations of it as the scale that the mode belongs. Thus any cyclic permutation of the 2-1-1-3-1-1-3  is considered again as the parachromatic Byzantine scale but at a different mode of it.

See also the post about the parachromatic Byzantine flute (3rd chromatic Byzantine minor scale) post 235 and post 242 about how to convert a Romanian caval to play both the harmonic minor and double harmonic minor

Other very well known 7-notes Byzantine scales but different from the parachromatic or 3rd Byzantine chromatic minor , also in  the chromatic family are the harmonic minor or 1st Byzantine chromatic minor (https://en.wikipedia.org/wiki/Minor_scale#Harmonic_minor_scale ) and double harmonic minor or 2nd Byzantine chromatic minor (https://en.wikipedia.org/wiki/Double_harmonic_scale).


This PVC Romanian Caval has a thumb hole and it is also tunable . Normally without the tump hole the 2+3 front holes in Romanian Caval flute with fipple plays the A4-B4-C5-D#5-E5-F5  in semitones 2-1-3-1-1-4 The tump here plays the note  G#5 thus all the A4 double harmonic minor scale 2-1-3-1-1-3-1  is playable.

The fipple is from an Irish Low D4 whistle, with rather thin corridor to Blow air and a sound hole of size 15 mm (vertically to the tube) and 7 mm or 10 mm longitudinally.

The size of the lowest 2 holes is only 7 mm which allows the fipple to play also the 1st octave with the 1st harmony quite well and in stable way without being necessary a special buzzing embouchure : A3-B3-C4-D#4-E4-F4-G#4-A4. If the flute would be made from 16.5 inner diameter PVC tube  the 1st octave  by  the 1st harmonic would be playable only with the special buzzing embouchure mm, but the 3rd and 4th harmonic would be payable only by overblowing and without partial opening of the thump hole. 

But the sizes of the rest of the 3+1 holes is 10 mm which gives more benefits. The benefits are that the 3rd hole that normally plays D#3 or D#4 can very easily with partial holing play also D3 or D4 thus having the scale A3-B3-C4-D4-E4-F4-G#4-A4 or in semitones 2-1-2-2-1-3-1, which is the A3 harmonic minor. Some caval flute add a hole between the 2nd C4 and the 3rd D#4 to do that, This is necessary only when the holes are small size. With 10 mm size holes this is easily done with partial holing.

Also the thumb hole which is again 10mm size can easily play  by partial  holing the G4 , thus together with the D3 play the natural minor A3-B3-C4-D4-E4-F4-G4-A4.

Because the bore is quite large (20 mm) and the lower holes also large size, the higher overtones require something more than overblowing.

The 2nd overtone requires simply overblowing. But the 3rd and 4th overtones require partial opening of the thumphole to help them.

We see this efficient PVC Romanian caval in  A3 with thump hole in the next photos

VERSION OF THE FLUTE  IN  DOUBLE HARMONIC MINOR  WHICH IS CLOSED OR INVARIANT TO THE 3RD OVERTONE 

Nevertheless, the 3rd harmonic and on the same holes  in such a flute (and on the original 6-notes Romanian  Caval too) will not give notes inside the double harmonic minor as it does say in  a major mode flute . The double harmonic minor has a mode, the 5th mode which is symmetric to shift higher by an interval of 5th and in interval structure it is 1-3-1-2-1-3-1. Therefore if we open holes for this 5th mode of the double harmonic minor we will get again a flute in double harmonic minor which has the additional advantage that the 3rd overtones on the same holes gives again notes of the same scale.

E.g. if the flute starts again from a, the notes that we should open holes are the 

All holes closed gives a4

1st hole open gives a#4

2nd hole open gives c#4

3rd hole open gives d5

4th hole open gives  e5

5th hole open gives  f5

6th thumb hole gives g#5

This scale is a mode of the d5 double harmonic minor . By partial holing on the 2nd hole and on the 6th hole we may play also the d5 simple harmonic minor and natural d5 minor .