Database with tunings for cittern

Database with tunings for cittern, bouzouki, octave mandolin or mandola. This started out as a question on the Cittern mailing list asking for a vote for the most popular tuning. When this database is filled it should answer that question, and many more.

Notation: Chris Walshaw's ABC format:
880 Hz= a' 440 Hz = a 220 Hz = A 110 Hz =A, (octave changes at c)
String gauges: 47w means wound .047" string and 40w/20 means an octave pair

The table is below, but if you want out: Back to Main Page

Tuning (no capo): C,G,Dg % chords: 90 % melody: 10
Instrument: bouzouki Maker: Greek roundback (decent one) String gauges: 40w/18,26w/13,16/16,13/13 Scale length: 26.5"
Style: Celtic & some Old-Time/New England Contra Dance Keys: D,A,G,C,and related modes Capo/key: II
Author: Dave Linden E-mail: dlinden@simtechinc.com URL: ID: 4
Pro's: Con's:
Remarks: This stringing is somewhat heavier than traditional Greek bouzouki stringing, gives a slightly less jangly sound. The tuning is chosen to keep the bass end near the traditional Greek tuning (CFAD) but line up interval-wise with the popular GDAD tuning. Capoing at 2nd fret (result: DAEA) puts most of the popular chords for this music in a reasonable frame and witin reasonable stretches. Han even has a chord chart for that tuning.
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Tuning (no capo): D,A,EAe % chords: 5 % melody: 95
Instrument: ? Maker: ? String gauges: ? Scale length: long ?
Style: celtic, oldtime, tunes in general Keys: Gm,Bm,F Capo/key: V
Author: Bil McKenty E-mail: bil@cyberspace.org URL: ID: 2
Pro's: Con's:
Remarks:
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Tuning (no capo): DAda % chords: 20 % melody: 80
Instrument: Mandola Maker: Musikalia? String gauges: 48w,34w,22,12 (bronze, balls crushed with pliers) Scale length: 17"
Style: Mostly Celtic, folk in general Keys: D(m),G(m),Em,C,A(m),F Capo/key: none
Author: Anthony de Waal E-mail: a.de.waal@cittern.demon.nl URL: www.cittern.demon.nl ID: 9
Pro's: same tuning as the top strings of my cittern Con's:
Remarks: This is a cheap mandola without a maker's name on the inside. It does have a "side", but the back is "semi-roundback" with 24 pieces. The top is probably plywood (hence the rather heavy stringing). The tuning mechanisms failed immediately, and the factory in Eastern Germany was bankrupted (I wonder why :-)). After more than 10 years I decided to restore it. The headstock is slotted, I used guitar tuners that came in sets of 6 separate pieces. Still not very stable though. The bridge that consisted of softwood that broke spontaneously, was replaced by bone and mahogony. It is now playable, but the volume is low. That's why I use it mainly to practice.
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Tuning (no capo): Dd' F#f#' a'a' d'd' % chords: % melody:
Instrument: bouzouki Maker: Trinity College String gauges: regular Bella bouzouki set, 8ves on 2 bass str. Scale length: 26.5"
Style: American folk and blues American folk and blues Keys: D, bm, A, G, em, C, am, E, Bb, Eb Capo/key: for G and em
Author: Kim Bretton Hetrick E-mail: bearwhlz@worldnet.att.net URL: http://www.geocities.com/bearwhlz/ ID: 10
Pro's: Con's:
Remarks: I play a "Trinity College" bouzouki, which I've always referred to as a cittern, as we have a large Greek community here, and I play in a distinctly different style. I like the small, round body, as it's easy to maneuver in my wheelchair, when I'm performing. It has a 26.5" scale, and is strung with octaves on the two bass courses (low string to the bass side), and unisons on the two treble courses. I play both fingerstyle, without picks, and with a plectrum, depending on the tune and the venue. The music I focus on is American (USA) folk and blues, with some rock influences, and my own compositions. I do not usually use a capo, but a Kyser banjo capo helps me out when I'm playing with a local hammer dulcimer group that plays a lot in the key of "G" and "em", and I want to use open-string fingerings. My primary tuning is: Dd' F#f#' a'a' d'd', which arrpegiates as an open D major chord. I find that it has sufficient bass to drive the rhythm, when I'm leading large groups in song, while the treble strings still give the characteristic "ring" of the cittern. It's adapted from the old blues "Vestapol" tuning used with guitars and banjos. The tuning makes transposition to different keys easy for me to visualize, and is great for playing in all of the traditional USA folk and gospel keys, D, bm, A, G, em, C, am, and E. Playing in the more "piano" keys, like Bb and Eb is a breeze. I use the regular Bella bouzouki string set. Keep up the good work! Peace; Kim Bretton Hetrick Have you visited my website ? [ It's at http://www.geocities.com/bearwhlz ] Disability Culture is a living, growing product of the vital Disability Community. We're coming out of the hospitals, institutions, and homes, and taking our rightful place in the world. Join us, and make "Inclusion" something more than just a concept. Support the Americans with Disabilities Act!
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Tuning (no capo): G,DAd % chords: 99 % melody: 1
Instrument: Greek roundback bouzouki Maker: Ecorda, Thessaloniki, Greece, model BP10 String gauges: 40w/14,30w/11,14/14,11/11 (nickle wound) Scale length: 26.5"
Style: Celtic backup Keys: D(m),G(m),Em,C,A(m),F Capo/key: none, won't even fit
Author: Anthony de Waal E-mail: a.de.waal@cittern.demon.nl URL: www.cittern.demon.nl ID: 7
Pro's: Good drones in D and G. Con's: intervals are not the same between all strings
Remarks: This is probably an instrument that has been put together a bit better than the average tourist instrument, since it doesn't fall apart yet (it was bought around 1986 in Crete). I don't play it often, because the neck is proposterously thick. I do keep it for the contrast with the sound of my cittern. The bass end is weak of course, but it has a nice, bright sound. It took some time to make it playable: the bridge and nut were replaced by me for compensation and adapting thicker strings, as well as lowering the action. The bridge was made of plastic when I bought it. The intonation is not perfect, but is workable up to the 7th fret.
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Tuning (no capo): G,DAda % chords: 25 % melody: 75
Instrument: Cittern Maker: Jaap Kraayenhof String gauges: 47,32,21w,14,09 (D'Addario Phosphor Bronze) Scale length: 21.5" (3 frets shorter than guitar)
Style: Mostly Celtic, folk in general Keys: D(m),G(m),Em,C,A(m),F Capo/key: none, but just bought a Dunlop Trigger 83 capo
Author: Anthony de Waal E-mail: a.de.waal@cittern.demon.nl URL: www.cittern.demon.nl ID: 6
Pro's: Good drones in D and G. Con's: intervals are not the same between all strings
Remarks: I started with GDaeb because the intervals are equal, making it very easy to learn tunes. The luthier adviced against it, and indeed it did cause me to lose too many strings. GDaea was the next good thing, being mandolin tuning with extra string to prevent stretches for the high B. For melody playing this was pretty good, but except for playing in A chords didn't work that well. After not playing for a while I changed to my current tuning, which is a nice compromise.
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Tuning (no capo): G,DAe % chords: 50 (see rem.) % melody: 50 (see rem.)
Instrument: bouzouki Maker: Trinity College String gauges: 44,32,22,12 (GHS OM set) Scale length: 25.5"
Style: Celtic, Folk Keys: D,G,A Capo/key: II for instrumentals/all over the neck for voc's
Author: Steve Colby E-mail: musicer@sprynet.com URL: ID: 5
Pro's: Con's:
Remarks: 1) For Irish Bouzouki I use GDAE since I learned on Tenor Banjo at age 12 and am familiar with the intervals. I have considered using GDAD because I use DADGAD on guitar and GDAD is obviously the Bouzouki equivalent. When I heard Eoin O'Neill play in Ireland he used ADAD and was magnificent in that tuning but I did notice the need to move quickly with the capo when the tune changed. If I had to choose an optional tuning it would probably be GDAD because of my love for DADGAD. Obviously GDAE is standard octave mandolin tuning so maybe my Bouzouki sound resembles that more than traditional Bouzouki. But I'm comfortable with it. As far as string gauges go I use standard GHS octave mandolin strings which are .012 .022 .032 .044 prosphor bronze loop end. They are long enough to handle my Trinity College Bouzouki (scale length is about 25 1/2 I think) and were the only strings I could find that would do this. I have ordered a Graham MacDonald Bouzouki which accepts ball end strings so I will do some experimenting when the instrument arrives. 2) I do use the capo alot but that is principally because the bouzouki is used for vocal backup. Accordingly I will capo all over the neck to obtain the appropriate key. For vocal support I play mostly in D or G group keys (chording) but seek out and use diads eliminating the third as much as possible. For instrumentals I usually capo at the 2nd fret and play out of D, G, or A and relative minors. On rare occasion I will use the key of C capoed at fret 2 making it D. 3) I don't know what percentage of chords vs. melody vs. counterpoint I use. For vocal support I will use descending bass runs (usually double stop) along with diad chords as they best suit the song. A good example of this is the song "Follow Me Up To Carlow" where the two bass strings are played in tandem starting at the 7th fret, then to 5th fret, then to 3rd fret, then to 2nd fret (song is in Dm) . All 4 strings are played and are usually cross picked. It compliments the song beautifully. For instrumentals I always play the lead (I have a guitarist play support or back up) and use open string drones wherever I can. Tunes like "Mason's Apron" and "Maid Behind The Bar" are examples of this and since I play both Irish Tenor Banjo and Bouzouki, the Bouzouki lends itself better to the drones for obvous reasons but it's hard to beat the punch of a Tenor Banjo. I guess the answer is 50-50. Many of the vocal based songs contain instrumental leads on Bouzouki. 5) Favorite keys (because of GDAE tuning) are D, G and A (sometimes C but it has limited droning capability unless I retuned which I choose not to do) and their relative minors. I am most comfortable in D or C since A requires some stretching on the 2 lower course strings. I do use A for "Mason's Apron". Because of Chris Smith's Book I am starting to explore The other Celtic modes. Fascinating and fun - labor of love kind of thing.
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Tuning (no capo): G,DAe % chords: 1 % melody: 99
Instrument: Bouzouki Maker: Westerman String gauges: 38w/18,26w/13,16/16,12/12 Scale length: 21"
Style: Celtic & some Old-Time/New England Contra Dance Keys: D,A,G,C,and related modes Capo/key: none
Author: Dave Linden E-mail: dlinden@simtechinc.com URL: ID: 3
Pro's: Con's:
Remarks: Note that this is quite a bit lighter than Rich originally set up. I have in the past tuned AEAE to play along with mountain dulcimer. ( I know that sounds pretty redundant, but the effect was interesting, like a really big dulcimer.)
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Tuning (no capo): G,DAe % chords: 90 % melody: 10
Instrument: OM or bouzouki? Maker: Petersen String gauges: 26/45,24/46,16/16,12/12 Scale length: 22.5"
Style: Celtic Keys: D, G (and relative dorian, minor, and mixolydian) Capo/key: none
Author: Eric Armstrong E-mail: eric@treelight.com (weekly) URL: ID: 1
Pro's: Con's:
Remarks: I switched to GDAE from GDAD because a) I could use mandolin chord charts b) I found a great teacher who plays mando/om The idea is that it's better for melodies. It also lets me steal fingering by watching violins, mandolins, and tenor banjos. And I figure that once I've got the chords, they'll be just about as easy with one finger as the other. Finally, I like the regularity of constant intervals. That's why I liked bass guitar, and why I looked for a four-course instrument in the first place.
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Tuning (no capo): G,DAea % chords: 80 % melody: 20
Instrument: Cittern Maker: Doug Dieter (Kennaquhair) String gauges: 38w,24w,16,11,8 Scale length: 21.75"
Style: Celtic, Old Time, Folk, a little classical Keys: whatever Capo/key: partial capo for other tunings (see remarks)
Author: Joseph Babin E-mail: Joesa2@webtv.net URL: http://members.tripod.com/~Joe_Babin ID: 8
Pro's: Same intervals as mandolin on on bottom 4 strings Con's:
Remarks: These gauges will also allow GDADA. I chose this tuning (with help from Roger Landes) so that I can use my mandolin experience and because I needed a shorter scale length in order to be able to play. I'm experimenting with a Third Hand partial capo for the keys of D and A. and ADADA tunings.
The partial capo at position II on the G, and D strings gives an open A tuning, and at position II at the G, and e strings gives open D.
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