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Stringed instrument tunings
View on WikipediaThis is a chart of stringed instrument tunings. Instruments are listed alphabetically by their most commonly known name.[1]
Terminology
[edit]A course may consist of one or more strings.[2]
Courses are listed reading from left to right facing the front of the instrument, with the instrument standing vertically. On a majority of instruments, this places the notes from low to high pitch. Exceptions exist:
- Instruments using reentrant tuning (e.g., the charango) may have a high string before a low string.
- Instruments strung in the reverse direction (e.g., mountain dulcimer) are noted with the highest sounding courses on the left and the lowest to the right.
- A few instruments exist in "right-hand" and "left-hand" versions; left-handed instruments are not included here as separate entries, as their tuning is identical to the right-hand version, but with the strings in reverse order (e.g., a left-handed guitar).
Strings within a course are also given from left to right, facing the front of the instrument, with it standing vertically. Single-string courses are separated by spaces; multiple-string courses (i.e. paired or tripled strings) are shown with courses separated by bullet characters (•).

Pitch: Unless otherwise noted, contemporary western standard pitch (A4 = 440 Hz) and 12-tone equal temperament are assumed.[3]
Octaves are given in scientific pitch notation, with Middle C written as "C4". (The 'A' above Middle C would then be written as "A4"; the next higher octave begins on "C5"; the next lower octave on "C3"; etc.)[4]
Because stringed instruments are easily re-tuned, the concept of a "standard tuning" is somewhat flexible. Some instruments:
- have a designated standard tuning (e.g., violin; guitar)
- have more than one tuning considered "standard" (e.g., mejorana, ukulele)
- do not have a standard tuning but rather a "common" tuning that is used more frequently than others (e.g., banjo; lap steel guitar)
- are typically re-tuned to suit the music being played or the voice being accompanied and have no set "standard" at all (e.g., đàn nguyệt; Appalachian dulcimer)
Where more than one common tuning exists, the most common is given first and labeled "Standard" or "Standard/common". Other tunings will then be given under the heading "Alternates".
A
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Ahenk | 12 strings
6 courses |
Standard/common:
A3 A3•B3 B3•E4 E4•A4 A4•D5 D5•G5 G5 Alternates: May also use various oud tunings |
Turkey | |||
| Ajayu | 12 strings
5 courses |
Standard/common:
A A•E E•A A•C♯ C♯ C♯•F♯ F♯ F♯ Alternate:
|
Chile | A very recent instrument, invented in 2007 | ||
| Akkordolia | 4 strings
4 courses |
F2 A2 C3 F3 |
Taishogoto, Bulbul tarang, Benju | Germany & Austria / Japan / India / Pakistan | There are also a number of drone strings, the number and tuning of which vary widely. | |
| Akonting | 3 courses
3 strings |
Common:
Casamance: D3 G3 F4 Gambian: C3 F3 E4 |
Ekonting, Bunchundo, Econtin, Konting | Senegal | Often strung with fishing line.
A rare 4-string version also exists. |
|
| Amzad | 1 string
1 course |
No standard tuning; tuned to any convenient note. | Imzad | Niger, Mali, Algeria | Horse hair string. | |
| Archlute | 27 strings
14 courses |
F1 F2•G1 G2•A1 A2•B1 B2•C2 C3• |
Arciliuto, Erzlaute | Europe | Number of courses could vary from 11–14, and the number of strings from 21–27. | 12-course, 23-string archlute: |
| Armonico | 7 strings
6 courses |
E3•A3•D4•G4 G4•B3•E4 | Cuba | |||
| Arpeggione | 6 strings
6 courses |
E2 A2 D3 G3 B3 E4 | Vienna, Austria | Rare.
Tuning is same as guitar. |
||
| Autoharp | 36 strings
36 courses |
F2 G2 C3 D3 E3 |
Chord zither | USA | Instruments with additional strings exist (from 37 – 48 total strings), but are very rare. |
B
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Baglama | 7 strings
3 courses |
top to bottom:
G2 G3•D3 D3•A2 A3 A3 |
Bağlama, Saz, Tanbura, Çöğür | Turkey | See Bağlama | |
| Baglamas | 6 strings
3 courses |
D4 D5•A4 A4•D5 D5 | Baglama, Baglama Saz, Baglamadaki | Greece | Standard aka "Modal D" | |
| Bajo quinto | 10 strings
5 courses |
A2 A1•D3 D2•G2 G2•C3 C3•F3 F3 | Mexico | True 10-string bajo quintos are made, but many so-called "bajo quintos" are really bajo sextos with the lowest course removed. | ||
| Bajo sexto | 12 strings
6 courses |
Standard/common (all fourths):
E2 E1•A2 A1•D3 D2•G2 G2•C3 C3•F3 F3 Alternate:
E2 E1•A2 A1•D3 D2•G2 G2•B2 B2•E3 E3 |
Mexico | In practice the bottom course (2 strings) is often removed, making the instrument effectively a bajo quinto. | ||
| Balalaika, alto | 3 strings
3 courses |
E3 E3 A3 | Alto | Russia | See Ekkel (1997) for all Balalaika tunings.[5] | |
| Balalaika, bass | 3 strings
3 courses |
Standard:
E2 A2 D3 Old orchestral:
|
Bass | Russia | ||
| Balalaika, contrabass | 3 strings
3 courses |
Standard:
E1 A1 D2 Old orchestral:
|
Contrabass | Russia | ||
| Balalaika, descant | 3 strings
3 courses |
E5 E5 A5 | Descant | Russia | Obsolete | |
| Balalaika, piccolo | 3 strings
3 courses |
Standard:
B4 E5 A5 Old orchestral:
|
Piccolo | Russia | Rare | |
| Balalaika, prima | 3 strings
3 courses |
Standard/common:
E4 E4 A4 Alternates:
|
Prima | Russia | This is the standard instrument of the balalaika family | |
| Balalaika, prima, 6-string | 6 strings
3 courses |
Standard:
E4 E4 • E4 E4 • A4 A4 Alternates:
|
Prima | Russia | A more recent development, professionals consider these inferior to 3-string instruments. | |
| Balalaika, secunda | 3 strings
3 courses |
A3 A3 D4 | Secunda | Russia | Often just a prima with altered tuning, though slightly larger secundas are also made. | |
| Balalaika, tenor | 3 strings
3 courses |
A2 A2 D3 | Tenor | Russia | Obsolete | |
| Bandola Andina Colombiana | 16 strings
6 courses |
F♯3 F♯3•B3 B3•E4 E4 E4•A4 A4 A4•D5 D5 D5•G5 G5 G5 | Colombia | |||
| Bandola Llanera | 4 strings
4 courses |
A2 D3 A3 E4 | Venezuela | |||
| Bandola Oriental | 8 strings
4 courses |
G3 G3•D4 D4•A4 A4•E5 E5 | Venezuela | |||
| Bandolin | 15 strings
5 courses |
E5 E4 E5•A5 A4 A5•D5 D5 D5•F♯5 F♯5 F♯5•B5 B5 B5 | Ecuador | |||
| Bandurria, Philippine | 14 strings
6 courses |
F♯3•B3 B3•E4 E4•A4 A4 A4•D5 D5 D5•G5 G5 G5 | Philippines | One octave higher than the Philippine laud. | ||
| Bandurria, Spanish | 12 strings
6 courses |
G♯3 G♯3•C♯4 C♯4•F♯4 F♯4•B4 B4•E5 E5•A5 A5 | Spain | Standard tuning aka "Spanish tuning",
one octave higher than the laud. |
||
| Banjo, bass | 4 strings
4 courses |
E1 A1 D2 G2 | US | The Cello banjo is sometimes called "bass banjo", but it is tuned differently, and there are true bass banjos as well. | ||
| Banjo, cello | 4 strings
4 courses |
C2 G2 D3 A3 | "Bass" banjo | US | Same as used for the cello. | |
| Banjo, cello | 5 strings
5 courses |
G3 D2 G2 B2 D3 | Banjo cello | US | One octave lower than 5-string bluegrass banjo. | |
| Banjo, contrabass | 3 strings
3 courses |
Standard/common:
E1 A1 D2 Alternates:
|
US | Essentially in the same range as the bass banjo, but with a much larger resonator. These instruments are very rare, and tuning is not standardized. | [6][7] | |
| Banjo (5-string) | 5 strings
5 courses |
Standard/common:
G4 D3 G3 B3 D4 Alternates: |
Bluegrass Banjo | US via Africa |
There are dozens of other, less common tunings. |
|
| Banjolele | 4 strings
4 courses |
Standard/common:
G4 C4 E4 A4 Alternate (traditional):
Baritone
|
Banjo ukulele, banjo uke, banjelele, banjulele | US | Hybrid of banjo and ukulele. Same tuning as a ukulele of the same scale. | |
| Banjolin | 4 strings
4 courses |
G3 D4 A4 E5 | Mandolin-banjo, Melody Banjo, banjoline, bandoline | US | Hybrid of mandolin and banjo but with only one string per course | |
| Banjo,
Long Neck |
5 strings
5 courses |
E4 B2 E3 G♯3 B3 | "Pete Seeger" Banjo | US (commissioned by Pete Seeger) | Open string tuning; often played with capo on 3rd fret | |
| Banjo, tenor | 4 strings
4 courses |
Standard/common (all fifths):
C3 G3 D4 A4 Alternate:
|
US via Africa | Irish tuning same as octave mandolin tuning | ||
| Banjo, Plectrum | 4 strings
4 courses |
C3 G3 B3 D4
Chicago Tuning: D3 G3 B3 E4 |
US via Africa | |||
| Baryton | 17 strings
17 courses Two ranks |
Bowed rank: A1 D2 G3 C3 E3 A3 D4
Plucked rank: A2 D3 E3 F♯3 G3 A3 B3 C♯3 D4 E4 |
Europe (Germany?) | Seven bowed strings, and 10 resonating strings, also plucked with the left thumb | ||
| Basprim | (See Brac, 5 string) | (See Brac, 5 string) | ||||
| Bass guitar | (See Guitar, bass) | (See Guitar, bass) | ||||
| Berimbau | 1 string
1 course |
[*] | Brazil | * No standard tuning, | ||
| Biscernica, 5 string | 5 strings
4 courses |
C♯3•F♯3•B3•E4 E4 | Bisernica | Balkans | The prim has 5 strings; there is another bisernica which has 6 strings. | |
| Bisernica,
6 string |
6 strings
4 courses |
E3•A3•D4 D4•G4 G4 | Tamburitza | Croatia, Serbia, Hungary, Slovenia | Other courses are sometimes doubled. | |
| Bordonua | 10 strings
5 courses |
A2 A3•D4 D3•F♯3 F♯4•B3 B3•E4 E4 | Puerto Rico | |||
| Bouzouki | 8 strings
4 courses |
C3 C4•F3 F4•A3 A3•D4 D4 | Tetrachordo bouzouki | Greece | Standard aka "F6 tuning" | |
| Bouzouki | 6 strings
3 courses |
D3 D4•A3 A3•D4 D4 | Trichordo bouzouki | Greece | Standard aka "F6 tuning" | |
| Bouzouki, Irish | ( See Irish bouzouki ) | ( See Irish bouzouki ) | ||||
| Brac,
5 string |
5 strings
4 courses |
Standard/common: E3•A3•D4•G4 G4 Alternate:
|
Basprim, Brach | Croatia, Serbia, Slovenia | ||
| Brac,
6 string |
6 strings
4 courses |
G3 G3•D4 D4•A4 A4 | Brach | Croatia, Serbia, Slovenia | ||
| Braguinha | 4 strings
4 courses |
D4 G4 B4 D5 | Braguinã, Cavaquinho, Machete de braga | Madeira, Portugal | Standard aka "Banjo tuning" (octave higher than the plectrum banjo) | |
| Bugarija,
5 string |
5 strings
4 courses |
Standard/common:
G2•B2•D3•G3 G3 Alternates:
|
Kontra | Croatia, Serbia, Slovenia | First course is sometimes not doubled. | |
| Bugarija,
6 string |
6 strings
4 courses |
Standard/common:
G2•B2•D3 D3•G3 G3 Alternates:
|
Kontra | Croatia, Serbia, Slovenia |
C
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Cak | 4 strings
3 courses |
D5 D5 • G4 • B4 |
Steel kroncong guitar | Indonesia | ||
| Cavaquinho | 4 strings
4 courses |
Standard/common:
D4 G4 B4 D5 Alternates:
|
Cavaco, Manchete, Machimbo | Portugal | ||
| Cello | 4 strings
4 courses |
Standard/common:
C2 G2 D3 A3 Alternates:
|
Violoncello | Europe | Many scordatura tunings have been employed by various composers for individual pieces, for example:
B1 F♯2 D3 A3
B♭1 F2 C3 G3 |
|
| Celo | 4 strings | Celovic celloses ginga | Croatia Serbia Slovenia | This is the modern instrument | ||
| Čelovič,
4 string |
4 strings
4 courses |
E2 A2 D3 G3 | Celo, Csello, Cselo | Croatia, Serbia, Slovenia | This is the modern instrument again | |
| Čelovič, Farkas | 6 strings
4 courses |
D2•G2•C3 C3•G3 G3 | Celo, Csello, Cselo | Croatia, Serbia, Slovenia | The traditional 19th century instrument, developed by Jankovic Farkas, now virtually obsolete. | |
| Cetera | 16 strings
8 courses |
Standard/common:
C3 C3•D3 D3•E♭3 E♭3•F3 F3•G3 G3•G3 G3•D4 D4•G4 G4 Alternate:
G2 G2•A2 A2•C3 C3•D3 D3•A3 A3•G3 G3•D4 D4•E4 E4 |
Corsica, France. | |||
| Chanzy | 3 strings
3 courses |
Standard/common:
F2 C3 F3 Alternates:
|
Chanzi, Tyanzi | Tuva, Russia | ||
| Chapey | 3 strings
2 courses |
F3 F3 • B3 |
Chapei, Chapei Dong Veng | Cambodia | ||
| Chapman Stick | 10 strings
10 courses |
E3 A2 D2 G1 C1 F♯2 B2 E3 A3 D4 |
Stick, The Stick, Classic Stick | United States | There are many alternate tunings, which vary from individual to individual | |
| Chapman Stick,
Grand Stick |
12 strings
12 courses |
B3 E3 A2 D2 G1 C1 C♯2 F♯2 B2 E3 A3 D4 |
Stick, The Stick, Grand Stick | United States | There are many alternates, which vary from individual to individual | |
| Charango | 10 strings
5 courses |
Standard/common:
G4 G4•C5 C5•E5 E4•A4 A4•E5 E5 Alternates:
C4 C4•F4 F4•A4 A3•D4 D4•A4 A4
F4 F4•B♭5 B♭5•C5 C4•G4 G4•D5 D5 |
Quirquincho, Mulita, Tatu, Kirki | Bolivia, Peru, Argentina
Chile, Ecuador |
Common C6/Am7 or "Bolivian" tuning, but there are many variants. 3rd course is an octave pair. | |
| Charango, Hatun | 7 or 8 strings
6 or 7 courses |
(A3) • D4 • G4 • C5 • E5 E4 • A4 • E5 |
Grand Charango, Hatun Charango, Peruvian Charango | Peru | A recent addition to the charango family. | |
| Charangón | 10 strings
5 courses |
Standard/common:
D4 D4•G4 G4•B4 B3•E4 E4•B4 B4 Alternates:
G3 G3•C4 C4•E4 E3•A3 A3•E4 E4
G3 G2•C4 C3•E4 E3•A3 A3•E4 E4
C4 C4•F4 F4•A4 A3•D4 D4•A4 A4 |
Tenor Charango,
"Bass" Charango |
Andean Region | Standard aka "Argentine tuning" or "G6 tuning", one fourth lower than the charango.
Very similar in appearance to the charango, but slightly larger. |
|
| Charango, Ranka | 11 strings
5 courses |
G4 G4•C5 C5•E5 E4•A4 A4•E5 E5 E6•D4 D4•A4 A4•G5 G4•C5 C5•G5 G5 G6 | Patasi Charango, Ranqha Charango | Cochabamba, Bolivia | ||
| Chillador | 10 strings
5 courses |
Standard/common:
G3 G3•C4 C4•E4 E3•A3 A3•E4 E4 Alternates: Same as charango |
Andean mountains | Essentially a flat-backed charango | ||
| Chitarra battente | 10 strings
5 courses |
A3 A3•D4 D4•G3 G3•B3 B3•E4 E4 |
Italy | |||
| Chonguri | 4 strings
4 courses |
Standard/common:
D2 F2 D3 A2 Alternate:[*]
|
Chaghyr, Chagur, Chugur, Choghur, Chungur, Chunguri | Georgia | [*]There are many tuning variations. Note that both examples here are re-entrant. | |
| Çiftelia | 2 strings
2 courses |
B3 E4 | Albania | Common tuning, there are variants. | ||
| Cimbalom | [*] about 125 strings
about 53 courses |
A2 A♯2 B2 C3 C♯3 D3 D♯3 E3 F3 F♯3 G3 G♯3 [...] * A♯5 B5 C6 C♯6 D6 D♯6 E6 F6 F♯6 G6 G♯6 A6 |
Cimbál, cymbalom, cymbalum, ţambal, tsymbaly and tsimbl, santur, santouri, sandouri | Hungary | * String number varies with size of instrument; bass courses are usually triple strung and higher courses typically quadruple strung. Range given is for a Concert Grand; other sizes with smaller, and with more extended ranges exist. Only lowest and highest octaves are given; intervening notes are tuned chromatically. | |
| Cinco Cuatro | 5 strings
4 courses |
G3•D4 D3•F♯4•B4 | North-western Venezuela | |||
| Cinco Y Medio | 5 strings
5 courses |
Standard/common:
E4•G3•D4•F♯4•B4 Alternates:
A4•D3•F♯4•B4•E4 |
North-western Venezuela | |||
| Cinco y Medio | 6 strings
6 courses |
Standard/common:
E3•A3•D3•F♯4•B4•E4 Alternate:
A4•A3•D3•F♯4•B4•E4 |
North-western Venezuela | Standard a.k.a. "Sanara tuning" | ||
| Cinco Seis | ( See Seis Cinco ) | ( See Seis Cinco ) | ||||
| Cittern (long scale) | 10 strings
5 courses |
Standard/common (aka "Irish"):
D2 D2•G2 G2•D3 D3•A3 A3•D4 D4 Alternates:
C2 C2•G2 G2•D3 D3•A3 A3•D4 D4
C2 C2•G2 G2•D3 D3•A3 A3•E4 E4 |
Celtic or Flatback Cittern | Europe | Long Scale[8] ~ 25.25" (64.1 cm)
Many other modal tunings have been described for citterns. |
|
| Cittern
(mid scale) |
10 strings
5 courses |
Standard/common:
D2 D2•G2 G2•D3 D3•A3 A3•E4 E4 Alternates:
D2 D2•G2 G2•D3 D3•A3 A3•D4 D4
D2 D2•A2 A2•D3 D3•A3 A3•D4 D4 |
Celtic or Flatback Cittern | Europe | Mid Scale[9] ~ 22.5" (57.2 cm)
Many other modal tunings have been described for citterns. |
|
| Cittern (short scale) | 10 strings
5 courses |
Standard/common:
G2 G2•D3 D3•A3 A3•D4 D4•A4 A4 Alternates:
G2 G2•D3 D3•G3 G3•D4 D4•G4 G4
G2 G2•D3 D3•A3 A3•E4 E4•B4 B4 |
Celtic or Flatback Cittern | Europe | Short Scale[10] ~ 20.0" (51.0 cm)
Many other modal tunings have been described for citterns. |
|
| Crwth | 5 strings
5 courses |
G2•C3•C2•D2•D3 | Crowd, Rote | Wales | Traditional Welsh tuning | |
| Cuatro Alto | 10 strings
5 courses |
F♯4 F♯3•B3 B4•E4 E4•A4 A4•D5 D5 |
Alto Cuatro | Puerto Rico | Rare.[11] | |
| Cuatro Antiguo | 8 strings
4 courses |
A3 A3•E4 E4•A4 A4•D5 D5 |
Puerto Rico | A 4 string/4 course version exists, tuned the same | ||
| Cuatro Bajo | 10 strings
5 courses |
E3 E2•A3 A2•D3 D3•G3 G3•C4 C4 |
Bass Cuatro | Puerto Rico | Rare.[12] | |
| Cuatro Cubano | 8 strings
4 courses |
Standard/common:
G4 G3•C4 C4•E4 E4•A4 A4 Alternates:
|
Cuban Cuatro, Tres-Cuatro | Cuba | ||
| Cuatro, Puerto Rican | 10 strings
5 courses |
B3 B2•E4 E3•A3 A3•D4 D4•G4 G4 |
Cuatro Tradicional, Cuatro Tenor, Cuatro Puertorriqueno, Cuatro Aviolinado, Cuatro Moderno, tenor Cuatro | Puerto Rico | The Tenor Cuatro is the standard instrument of the Puerto Rican Cuatro Family.[13]
Cuatro Aviolinado means 'violin-shaped cuatro'; Cuatro Moderno is to distinguish from the Cuatro Antiguo |
|
| Cuatro, Venezuelan | 4 strings
4 courses |
A3•D4•F♯4•B3 |
Cuatro Venezolano | Venezuela | Standard aka "D6 tuning" | |
| Cuatro Soprano | 10 strings
5 courses |
C♯5 C♯4•F♯4 F♯5•B4 B4•E5 E5•A5 A5 |
Soprano Cuatro | Puerto Rico | Rare.[14] | |
| Cuk | 3 strings
3 courses |
G4 • B3 • E3 |
Kroncong Cuk, Nylon kroncong guitar | Indonesia | ||
| Cümbüş | 12 strings
6 courses |
Standard/common:
A2 A2•B2 B2•E3 E3•A3 A3•D4 D4•G4 G4 Alternates:
E2 E2•A2 A2•B2 B2•E3 E3•A3 A3•D4 D4 |
Turkey | Tunings are highly variable, other common alternates include:
A2 A2•D3 D3•E3 E3•A3 A3•D4 D4•G4 G4 |
||
| Cümbüş, tambur | 6 strings
3 courses |
D2 D2•A2 A2•D3 D3 |
Turkey | |||
| Cura | 6 strings
3 courses |
D4 D4•A4 A4•E5 E5 |
Cura saz | Turkey | ||
| Cura | 7 strings
3 courses |
G3 G3•D4 D4•A4 A4 A4 |
Cura saz | Turkey | ||
| Cura | 8 strings
4 courses |
G3 G3•D4 D4•A4 A4•E5 E5 |
Cura saz | Turkey | Same as Mandolin |
D
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Đàn bầu | 1 string/
1 course |
C3 [*] | Đàn độc huyền, Độc huyền cầm | Vietnam | * Tuning is approximate, and frequently varies | |
| Đàn đáy | 3 strings
3 courses |
G3•C4•F4 | Vo de cam,
Đàn đáy |
Vietnam | ||
| Đàn nguyệt | 2 strings
2 courses |
[ * ] | Nguyệt cầm,
Đàn kìm |
Vietnam | * There is no fixed tuning: one string is tuned to a convenient vocal pitch, the other is tuned a 4th, a 5th or (rarely) an octave above that. | |
| Đàn nhị | 2 strings
2 courses |
Standard/common:
F C Alternates:
|
Đàn cò | Vietnam | ||
| Đàn tranh | 17 strings,
17 courses[*] |
G3 A3 C4 D4 E4 G4 A4 C5 D5 E5 G5 A5 C6 D6 E6 G7 A7 | Vietnam | *Instruments with from 14–25 strings/courses have been made; 17 is considered the current standard (2014) | ||
| Daruan | 4 strings
4 courses |
D2 A2 D3 A3' | Bass Ruan | China | lit. "large Ruan" | |
| Dihu | 2 strings
2 courses |
|
Dadihu, Dahu, Ziaodihu, Zhongdihu | China | A larger version of the Erhu.
Either tuning may be considered standard. |
|
| Diyinruan | 4 strings
4 courses |
G1 D2 G2 D3' | Contraass Ruan | China | lit. "low pitched Ruan" | |
| Dombra | 2 strings
2 courses |
Standard:
D4•G4 |
Dambura, Dumbyra, Tumpyra, Tumra, Danbura | North central Asia | ||
| Domra, alto | 3 strings
3 courses |
E3•A3•D4 | Russia | |||
| Domra, alto | 4 strings
4 courses |
C3•G3•D4•A4 | Ukraine | Same as mandola tuning | ||
| Domra, bass | 3 strings
3 courses |
E2•A2•D3 | Russia | |||
| Domra, bass | 4 strings
4 courses |
C2•G2•D3•A3 | Ukraine | Same as mandocello tuning | ||
| Domra, contrabass | 3 strings
3 courses |
Standard:
E1•A1•D2 Alternate:
|
Russia | |||
| Domra, contrabass | 4 strings
4 courses |
E1•A1•D2•G2 | Ukraine | Same as the orchestral double bass | ||
| Domra, Mezzo-soprano | 3 strings
3 courses |
B3•E4•A4 | Russia | Rare | ||
| Domra, piccolo | 3 strings
3 courses |
B4•E5•A5 | Russia | |||
| Domra, piccolo | 4 strings
4 courses |
C4•G4•D5•A5 | Ukraine | Octave higher than the mandola | ||
| Domra, prima | 3 strings
3 courses |
E4•A4•D5 | Russia | The main instrument of the domra family | ||
| Domra, prima | 4 strings
4 courses |
G3•D4•A4•E5 | Ukraine | Same as mandolin tuning | ||
| Domra, tenor | 3 strings
3 courses |
B2•E3•A3 | Russia | |||
| Domra, tenor | 4 strings
4 courses |
G2•D3•A3•E4 | Ukraine | Same as octave-mandolin tuning | ||
| Dotara | 4 strings
4 courses |
F♯3•C♯3•F♯4•B4 | India | |||
| Dotara | 6 strings
5 courses |
G2 G3•C4•G4•G4•C5 | Bangladesh | |||
| Double bass | 4 strings
4 courses |
Standard/common:
E1•A1•D2•G2 Alternates:
C1•A1•D2•G2
B0•A1•D2•G2 |
Bass, bass fiddle, contrabass, string bass, standup bass, doghouse | Europe | Standard aka "orchestral tuning" | |
| Double bass, 5-string | 5 strings
5 courses |
Standard/common:
C1•E1•A1•D2•G2 Alternates:
B0•E1•A1•D2•G2 |
Bass, bass fiddle, contrabass, string bass, standup bass, doghouse | Europe | Standard aka "orchestral tuning" | |
| Dranyen | 7 strings
3 courses |
A3 A3•D4 D3 D3•G3 G3 | Dramyin, Dramnyen | Bhutan and Tibet | Standard aka "Bhutanese tuning" | |
| Dranyen | 6 strings
3 courses |
A3 A3•D3 D3•G3 G3 | Dramyin, Dramnyen | Bhutan and Tibet | Standard aka "Tibetan tuning" | |
| Dulcimer,
3 course |
3–6 strings
3 courses |
Standard/common:
Alternates (see notes):
|
Mountain Dulcimer, Appalachian Dulcimer, Lap Dulcimer, Dulcimore, Delcimore, Delcimer | US |
|
3-course, 4-string dulcimer: |
| Dulcimer,
4 course |
4–8 strings
4 courses |
Common*:
Alternates (see notes):
|
Mountain Dulcimer, Appalachian Dulcimer, Lap Dulcimer, Dulcimore, Delcimore, Delcimer | US | ||
| Dutar | 2 strings
2 courses |
Standard/common:
D3•G3 Alternate:
|
Dotar | Uzbekistan | This instrument is found in many forms throughout central Asia. |
E
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Ektara | 1 string
1 course |
No standard; string is tuned to any convenient pitch. | Ektar, Iktar, Gopichand, Gobijeu | India | ||
| Epinette des Vosges | 6 strings [*]
6 courses |
Common:
G C G |
France | Typically three fretted strings; three drones, but the number of drones may vary widely.
Similar in concept to the Apalacian Dulcimer |
||
| Erhu | 2 strings
2 courses |
D4 A4 | Nanhu | China |
F
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Fegereng | 2 strings
2 courses |
[*] | Faglong, Fuglung, Hegelong, Kutyapi, Kutiapi, Kotyapi, Kotapi, Kudyapi, Kuglong, Kadlong, Kudlong, Kudlung, Kusyapi | Southeast Asia | [*] There is no "standard" tuning. One string is tuned to any convenient pitch, and the other is tuned one octave higher. | |
| Fiddle | 4 strings
4 courses |
Standard/common:
G3 D4 A4 E5 Alternates:
|
Violin, Kit, Pochette | Europe, USA | "Fiddle" describes a playing style more than a unique instrument; a fiddle is just a violin with a slightly different "set-up".
Standard aka "Italian" or "orchestral" tuning, High Bass aka "Old-time D tuning", Cross tuning aka "High counter", Calico aka "Black Mountain Rag" or the Swedish tunings: Trollstämning, or Näckastämning |
G
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Gabusi | 6 strings
4 courses |
D g bb dd | Gaboussi | Comoros Islands | ||
| Gadulka | 3 strings
3 courses |
A3 E3 A4 | The Balkans | 3 playing strings, with up to 10 sympathetic strings. | ||
| Gambus Hadhramaut | 11 strings
6 courses |
C • G G • B B • A A • E E • D D | Malaysia, Indonesia | Related to oud | ||
| Gaoyinruan | 4 strings
4 courses |
G3 D4 G4 D5 | Soprano Ruan | China | Literally "high pitched Ruan" | |
| Gehu | 4 strings
4 courses |
C2 G2 D3 A3 | Erhu-cello, | China | Same tunings as cello | |
| Gekkin | 4 strings
2 courses |
C3 C3 G3 G3 [*] | Gekin | Japan | * Tuning is not western equal temperament | |
| Gekkin | 4 strings
4 courses |
A3 D4 D4 D5 | Japanese Yueqin | Japan | ||
| Geyerleier | 8 strings
4 courses |
Standard/common:
E3 E2•B3 B2•E3 E3•B3 B3 Alternate:
|
Hamburg, Germany | |||
| Guitalele | 6 strings
6 courses |
Standard/common:
A2 D3 G3 C4 E4 A4 Alternate:
|
Ukutar | US, Japan | Tuned a 4th or a 5th higher than the standard guitar. | |
| Guitar | 6 strings
6 courses |
Standard:
E2 A2 D3 G3 B3 E4 Common Alternates:
|
Classical guitar, 6-string guitar, Spanish guitar, Steel-string guitar |
Spain (acoustic)
USA (electric) |
"classical" = guitar with gut, nylon, or other synthetic strings; "acoustic"/"steel-string" = guitar with metal strings; Open G aka "bottleneck," "taro patch"; Open A aka "Spanish"; "Lute tuning" is usually capoed on 3rd fret to give G2 C3 F3 A3 D4 G4, and E2 is often dropped to D2 (F2 with capo). There are hundreds of alternate guitar tunings; whole books have been written on the subject.[16] |
|
| Guitar, alto | 11 strings
11 courses |
B♭1 C2 D2 E♭2 F2 G2 C3 F3 B♭3 D4 G4 | Archguitar, altgitarren, Bolin guitar | Sweden | ||
| Guitar, alto | 13 strings
13 courses |
A1 B♭1 C2 D2 E2 F2 G2 A2 D3 F3 A3 D4 F4 | Archguitar, altgitarren, Bolin guitar | Sweden | This instrument is very rare. | |
| Guitar, alto (Niibori) | 6 strings
6 courses |
Standard/common:
B2 E3 A3 D4 F♯4 B4 |
G Guitar | Japan | Transposing guitar in the key of G, developed for the Niibori Guitar Orchestra | |
| Guitar, 7 string | 7 strings
7 courses |
Standard/common:
B1 E2 A2 D3 G3 B3 E4 Alternate:
|
7 string classical guitar,
"Brazilian" guitar, 7 string electric guitar |
US | Van Eps aka "Jazz tuning"
"Choro" is popular in Brazil 6-string alternates may be adapted for the 7-string |
|
| Guitar, 8 string (low/high) | 8 strings
8 courses |
B1 E2 A2 D3 G3 B3 E4 A4 | 8 string classical guitar | Spain | aka "Galbraith tuning" | |
| Guitar, 8 string (added basses) | 8 strings
8 courses |
[B1 D2] E2 A2 D3 G3 B3 E4 | 8 string classical guitar
8 string electric guitar |
Spain | Tuning of two lowest strings varies with player and music | |
| Guitar, 9 string | 9 strings
6 courses |
E3 E2•A3 A2•D4 D3•G3 B3 E4 | US | 12-string guitar variant with doubled bases | ||
| Guitar, 9 string | 9 strings
6 courses |
E2• A2• D3• G4 G3•B3 B3•E4 E4 | US | 12-string guitar variant with doubled trebles | ||
| Guitar, 9 string | 9 strings
9 courses |
F♯1 B1 E2 A2 D3 G3 B3 E4 A4 [*] | US | * These short-scale, extended range instruments are uncommon, and tuning hasn't really been standardized for them. | ||
| Guitar, 10 string | 10 strings
10 courses |
F♯2 G♯2 A♯2 C2 E2 A2 D3 G3 B3 E4 | 10 String classical guitar | Spain | Standard tuning, developed by luthier José Ramírez III in collaboration with guitarist Narciso Yepes | |
| Twelve-string guitar, 12 string | 12 strings
6 courses |
Standard/common:
E3 E2•A3 A2•D4 D3•G4 G3•B3 B3•E4 E4 Alternates:
All 6-string alternates may be adapted to 12-string. |
Twelve-stringed Guitar | US? | Some players tune the third course to unison G3's to minimize breakage of the high G string. | |
| Guitar, baritone | 6 strings
6 courses |
Common tunings:
|
US | There really is no "standard" tuning for baritone guitar; choice of tuning depends on instrument, stringing, and player's preferences. | ||
| Guitar, bass | 4 strings
4 courses |
Standard/common:
E1 A1 D2 G2 Alternates:
|
Bass, electric bass, 4-string bass, Fender bass | USA | First U.S. patent filed by Leo Fender on November 21, 1952. | Electric Bass: |
| Guitar, bass (5-string) | 5 strings
5 courses |
Standard/common:
|
Bass, electric bass, 5-string bass | Essentially a 4-string bass with one added high or low string. Choice of tuning depends whether the added string is low or high. | ||
| Guitar, bass (6-string) | 6 strings
6 courses |
Standard/common:
B0 E1 A1 D2 G2 C3 Alternate: E1 A1 D2 G2 B2 E3 |
Bass, electric bass, 6-string bass, contrabass guitar | Essentially a 4-string bass with either added high and low strings. | ||
| Guitar, bass (8-string) | 8 strings
4 courses |
E2 E1•A2 A1•D3 D2•G3 G2 | Eight-string bass guitar, 8-string bass | US | Essentially a 4-string bass with each string doubled at the upper octave. | |
| Guitar, bass (12-string) | 12 strings
4 courses |
E2 E2 E1•A2 A2 A1•D3 D3 D2•G3 G3 G2 | Twelve-string bass guitar, 12-string bass | US | Similar to an 8-string bass with doubled upper octaves. | |
| Guitar, octave | 6 strings
6 courses |
E3•A3•D4•G4•B4•E5 | Piccolo Guitar, Soprano Guitar | Germany | One octave higher than the standard guitar. | |
| Guitarra De Golpe | 5 strings
5 courses |
Standard/common:
D3•G3•C4•E3•A3 Alternates:
|
Guitarra Colorada, Quinta De Golpe, Mariachera | Mexico | Note re-entrant tunings | |
| Lute guitar | 6 strings
6 courses |
Standard/common:
E2•A2•D3•G3•B3•E4 Alternates are the same as the guitar |
Guitarren laute, guitar-lute, lute-guitar | Germany | Basically this is a lute-shaped guitar; a guitar neck on a lute body. | |
| Guitarro | 6 strings
6 courses |
B4 F♯4 D5 A5 E5 | Guitarrico, Spanish Tiple | Spain | ||
| Guitarrón | 6 strings
6 courses |
A1 D2 G2 C3 E3 A2 | Guitarrón de Toloche | Mexico | ||
| Guitarron Argentino | 6 strings
6courses |
B1 E2 A2 D3 G3 B3 | Argentina | A 6-string acoustic bass guitar. | ||
| Guitarrón chileno | 24 or 25 strings total
5 courses + 4 open "diablitos" |
diablitos, top: F♯5 A4 (D4) D4 D3 D3 D2 • |
Chile | 4 short, unfretted strings are known as diablitos (little devils).
Number of strings in 3rd, 4th, & 5th courses may vary. |
||
| Guitar, tenor | 4 strings
4 courses |
Standard
C3 • G3 • D4 • A4 Common Alternates
|
US | Same tuning as tenor banjo, mandola. | ||
| Guitar, terz | 6 strings
6 courses |
G2 C3 F3 B♭3 D4 G4 | Tertz Guitar, Tierce Guitar, Third Guitar | Italy, Germany | A minor third higher than standard guitar tuning. | |
| Guqin | 7 strings
7 courses |
sol la do re mi sol la | China | Guqin music uses no absolute pitch so tuning varies.
The common Zheng Diao tuning sets "do" to approx. "F3" and tunes other strings relative to that to give C3 D3 F3 G3 A3 C4 D4 |
||
| Gusli | 9 strings
9 courses |
Standard/common:
E3 A3 B3 C4 D4 E4 F4 G4 A4 |
Krylovidnye gusli | Russia | Tuning varies; this is a common traditional tuning |
H
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Halszither | 9 strings
5 courses |
G2 • D3 D3 • G3 G3 • B3 B3 • D4 D4 | Krienser Halszither | Switzerland | ||
| Hardingfele | 4 strings
4 courses plus 4–5 resonating strings |
Standard/common:
A3 D4 A4 E5 res. strings: (B3) D4 E4 F♯4 A4 Common alternates:
res.: (A3) D4 E4 G4 A4
res.: (B3) D4 E4 F♯4 A4
res.: (A3) C♯4 E4 F♯4 A4
res.: (A3) C♯4 E4 F♯4 A4
res.: (F3) B3 D4 G4 A4
res.: (B3) D4 E4 G4 A4 |
Hardanger violin, Hardanger fiddle | Norway |
"Devil's Tuning"
There are many other variant tunings, most of them uncommon. |
|
| Harp, Concert | 47 strings
47 courses |
C♭1 D♭1 E♭1 F♭1 G♭1 A♭1 B♭1
[ . . . ] * C♭7 D♭7 E♭7 F♭7 G♭7 |
Pedal Harp, Double-action Harp, Diatonic Double-action Harp | France | * Only lowest and highest octaves shown. Tuning proceeds through 6+1⁄2 octaves using the C♭ diatonic scale | |
| Harp, Celtic | 34 strings
34 courses[*] |
C2 D2 E2 F2 G2 A2 B2
[ . . . ] * C6 D6 E6 F6 G6 A6 |
Clàrsach, Folk Harp, Lever Harp | British Isles | * Number of strings varies, generally between 19 and 40; 34 strings is typical. Not all models have levers. Only lowest and highest octaves shown. Tuning proceeds through 4+1⁄2 octaves using the C diatonic scale. | |
| Harpsichord | Varies[*] | [*]Typical:
C2 C♯2 D2 D♯2 E2 F2 F♯2 G2 G♯2 A2 A♯2 B2 [...] * C♯6 D6 D♯6 E6 F6 F♯6 G6 G♯6 A6 A♯6 B6 C7 |
Virginal, Spinet, Clavicytherium, Ottavino, Pedal Harpsichord, et al | Europe (Belgium?) | Many variants exist having differing number of keys, multiple keyboards, pedal boards, choirs of strings, etc., and they may have anywhere from about 120 to many hundreds of strings. Tuning is given for a typical single-keyboard, 5-octave instrument, for the main choir of strings. Only lowest and highest octaves are shown; intervening notes are tuned chromatically. Often tuning is in some musical temperament other than 12-tone equal temperament (common on modern pianos). | |
| Harzither | 8 strings
4 courses |
GG • CC • EE • GG | Bergzither | Germany | ||
| Huapanguera | 8 strings
5 courses |
G2 •D3 D4•G3 G3•B3 B3•E3 | Mexico | |||
| Huobosi | 4 strings
4 courses |
E2 A2 D3 G3 | Hubo, Sugudu | China | ||
| Hurdy Gurdy | 5 or 6 strings
5 courses |
Traditional:
(G4)G4 C4 G3 C3 C2 Alternates:
(G4)G4 C4 G3 C3 G2
(D5)D4 D4 G3 D3 D2
(D5)D4 D4 A3 D3 G2
(A5)A5 D4 A3 D3 D2 |
Beggar's lyre, Crank lyre, Cymphan, Forgolant, Organistrum, Symphonia, Wheel fiddle, Wheel vielle | France | Stringing is given in reverse order, owing to the orientation of the instrument while playing. The first one (or two) strings are melody strings; others are drone strings. Other regional tuning variants exist. |
I
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Ichigenkin | 1 string
1 course |
no standard [*] | Japan | [*]
string is tuned to any note convenient for the vocalist |
||
| Igil | 2 strings
2 courses |
(E • B) | Ikili | Tuva, Mongolia | Pitch varies depending what other instruments the Igil is playing with, but the two strings are always tuned a 5th apart. | |
| Irish bouzouki | 8 strings
4 courses |
Standard/common:
G3 G2•D4 D3•A3 A3•E4 E4 Alternates:
G2 G2•D3 D3•A3 A3•E4 E4
G3 G2•D4 D3•A3 A3•D4 D4
A3 A2•D4 D3•A3 A3•D4 D4 |
Bouzouki, Octave Mandolin, tenor Mandolin (US), tenor Mandola (UK), Zouk | Ireland | Irish bouzouki is an octave mandolin with the two lowest courses tuned in octaves instead of unisons. "Modal D" octaves can also be tuned in unisons. |
J
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Jarana huasteca | 5 strings
5 courses |
G3 • B3 • D4 • F♯4 • A4 | Mexico | |||
| Jarana jarocha | 8 strings
5 courses |
A3 • D4 D4 • G3 G4 • B3 B3 • E4
G3•C4 C4•E3 E3•A3 A3•G4 |
Mexico | Part of their name usually describes their size, for example:
Jarana Chaquiste, Jarana Primera, Jarana Segunda, Jarana Tercera, Jarana Tercerola Where octave doublings occur will often differ depending on the size of the instrument. The larger instruments commonly double the middle courses at the octave. |
||
| Jarana jarocha requinto | 4 strings
4 courses |
Standard/common:
G2•A2•D2•G3 Alternates:
|
Jarocha requinto, requinto jarocha, guitarra de son | Mexico | ||
| Jarana leona | 4 strings
4 courses |
G2•A2•D3•G3 | Mexico | |||
| Jouhikko | 3 strings
3 courses |
D A E | Jouhikannel | Finland | Absolute pitch is not fixed on this instrument |
K
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Kabosy | 6 strings
4 courses |
G • G • B B • D D | Madagascar | |||
| Kacapi | 6 strings
3 courses |
A♯• B •C♯ •F• F♯ | Indonesia | Uses a gamelan pelog scale. Tuning is approximated to western notation. | ||
| Kamancheh | 4 strings
4 courses |
D5•A5•D4•A4 | Iran, Armenia, Azerbaijan, Uzbekistan, Turkmenistan |
|||
| Khonkhota | 8 strings
5 courses [*] |
G4 G3•C4•D4 D3•A3•D4 D4 | Qonqhota, Ponputu, Mokholos, Machus | South America | Strings/courses are usually 8/5 but 7/5, 9/5, 10/5 or 11/5 variations exist. | |
| Kithara Sarda | 6 strings
6 courses |
B2 E2 A2 D3 F3 B3 | Sardinia, Italy | |||
| Kobza | 8 strings
4 courses |
Standard/common:
GG • DD • GG • CC Alternate: DD • AA • DD • GG |
Kobuz, Kobsa | Moldavia, Romania, Hungary | ||
| Kokles | 11 strings
11 courses |
G3 A3 C3 D3 E3 F3 G4 A4 B4 C4
G3 A3 C3 D3 E3 F3 G4 A4 B♭4 C4 |
Kokle, Kūkles, Kūkle | Latvia | Since the 1980s the most common tunings for 11-stringed kokles among kokles players. | |
| Komuz | 3 strings
3 courses |
A E A | Qomuz, Gopuz, Kopuz, Kopus | Kyrgyzstan | ||
| Kora | 21 strings
21 courses |
Traditional tunings:
|
West Africa | Scales roughly correspond to Western major, minor, and lydian scales, but are not in equal temperament. Any of the scales may be considered "standard". | ||
| Koto | 13 strings
13 courses |
Traditional tunings:
D4 D4 A3 B3 D4 E4 F♯4 A4 B4 D5 E5 F♯5 A5
E4 A3 B3 D4 E3 F♯3 A3 B3 C♯4 E4 F♯4 A4 B4
E4 A3 B3 C♯4 E3 F♯3 A3 B3 C♯4 E4 F♯4 A4 B4
B3 E3 F♯3 A3 B3 C♯4/D4 E4 F♯4 A4 B4 C♯5/D5 E5 F♯5
B3 E3 F♯3 G♯3 B3 C♯4 E4 F♯4 G♯4 B4 C♯4 E4 F♯4
F♯3 B3 C♯3 E3 F♯3 G♯3/A3 B3 C♯4 E4 F♯4 G♯4/A4 B4 C♯5
G3 G3 D3 E3 G3 A3 B3 D4 E4 G4 A4 B4 D5 |
箏, 琴 | Japan |
|
|
| Krachappi | 4 strings
2 courses |
F2 F2 • B2 B2 | Grajappi, Krachap pi | Thailand | ||
| Kwitra | 8 strings
4 courses |
GG • EE • AA • DD | Kuitra, Kouitra, Quwaytara | Algeria |
L
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Laouto | 8 strings
4 courses |
Standard/common:
C2 C3•G2 G3•D2 D3•A3 A3 Alternate:
|
Laghouto | Greece | Standard a.k.a. "Mainland" | |
| Laúd | 12 strings
6 courses |
Standard/common:
G♯2 G♯2•C♯3 C♯3•F♯3 F♯3•B3 B3•E4 E4•A4 A4 Alternates:
D2 D2•A2 A2•E3 E3•B3 B3•F♯4 F♯4•C♯5 C♯5
D2 D2•A2 A2•E3 E3•B3 B3•F♯4 F♯4•D5 D5 |
Spanish laud | Spain | Standard aka Spanish Tuning;
one octave lower than the Spanish Bandurria |
|
| Laúd, Cuban | 12 strings
6 courses |
D3 D3•F♯3 F♯3•B3 B3•E4 E4•A4 A4•D5 D5 | Laud Cubano | Cuba | ||
| Laúd, Philippine | 14 strings
6 courses |
F♯2•B2 B2•E3 E3•A3 A3 A3•D4 D4 D4•G4 G4 G4 | Laud | Philippines | Same tuning as the Octavina | |
| Lili'u | 6 strings
4 courses |
G4 • C3 C4 • E4 • A3 A4 | 6 string Tenor Ukulele | Hawaii | Invented by Sam Kamaka to celebrate the 50th anniversary of Hawaii's Statehood. The name comes from the last queen of Hawaii, Queen Liliʻuokalani | |
| Liuqin | 4 strings
4 courses |
G3 • D4 • G4 • D5
Alternate
|
Liuyeqin, willow leaf instrument | China | ||
| Liuto cantabile | 10 strings
5 courses |
C2 C2•G2 G2•D3 D3•A3 A3•E4 E4 | Liuto moderno | Naples, Italy | Some courses are occasionally single-strung | |
| Luc huyen cam | 5 strings
5 courses |
Standard/common:
C3 • F3 • C4 • G4 • C5 Alternate:
(a.k.a. "slide guitar tuning") |
Đàn Ghita, Ghita, Phím Lõm,
Vietnamese guitar |
Vietnam | Originally a 4- or 5-string instrument; today often nearly identical to a 6-string western guitar, except for having a scalloped fingerboard and one less string.
(See below.) |
|
| Luc huyen cam | 6 strings
6 courses |
Standard/common:
E2 • A2 • D3 • G3 • B3 • E4 Alternates:
|
Đàn Ghita, Ghita, Phím Lõm,
Vietnamese guitar |
Vietnam |
|
|
| Lute | [ * ] |
G2 G2 • C3 C3 • F3 F3 • A3 A3 • D4 D4 • G4 G4
D2 D3•G2 G3•C3 C4•F3 F3•A3 A3•D4 D4•G4
D2 D3•F2 F3•G2 G3•C3 C4•F3 F3•A3 A3•D4 D4•G4
C2 C3•D2 D3•E♭2 E♭3•F2 F3•G2 G3•C3 C4•F3 F3•A3 A3•D4 D4•G4
A1 A2•B1 B2•C2 C3•D2 D3•E2 E3•F2 F3•G2 G3•A2 A2•D3 D3•F3 F3•A3 A3•D4•F4 |
Europe | [ * ] The number of strings and courses on a lute can vary widely depending on period and geographical region. Among the more common forms are 6, 7, 8, 10, and 13 courses. (Pictured: 8 course Renaissance Lute.) | ||
| Cretan lyra | 3 strings
3 courses |
D3 • A3 • E4 | Crete, Greece |
M
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Mandobass | 4 strings
4 courses |
Standard/common:
E1 A1 D2 G2 Alternate: G1 D2 A2 E3 Alternate: C1 G1 D2 A2 |
Bass Mandolin | Europe | The alternate tuning (2 octaves below the mandolin) is usually applied to a smaller-scale instrument (see Mandobass).
The alternate tuning (2 octaves below the mandola) is usually applied to a smaller-scale instrument (see Mandobass). |
|
| Mandobass | 8 strings
4 courses |
Standard/common:
G1 G1•D2 D2•A2 A2•E3 E3 Alternate:
|
Tremolo-bass | Europe | Relatively rare; larger than the standard mandobass.
Standard tuning is 2 octaves below the mandolin. Alternate tuning is 2 octaves below the mandola. |
|
| Mandocello | 8 strings
4 courses |
C2 C2•G2 G2•D3 D3•A3 A3 | Mandolincello, mandoloncello | Standard tuning is 1 octave below the mandola. | ||
| Mandola | 8 strings
4 courses |
C3 C3•G3 G3•D4 D4•A4 A4 | Tenor mandola (Europe) | A 5th below mandolin tuning. | ||
| Mandolin | 8 strings
4 courses |
G3 G3•D4 D4•A4 A4•E5 E5
Alternates: "Get Up John Tuning": F♯3 A3•D4 D4•A4 A4•A5 D5 All violin alternate tunings may be adapted for the mandolin |
Standard instrument of the mandolin family. | |||
| Mandolinetto | 8 strings
4 courses |
G3 G3•D4 D4•A4 A4•E5 E5 | USA and Canada | A guitar-shaped mandolin, or mandolin neck on ukulele body. | ||
| Mandolin, Octave | 8 strings
4 courses |
Standard/common:
G2 G2•D3 D3•A3 A3•E4 E4 Alternate:
G2 G2•D3 D3•A3 A3•D4 D4 |
Tenor Mandolin, Irish Bouzouki, Octave mandola (Europe) | Pitched 1 octave below the mandolin. | ||
| Mandolin, piccolo | 8 strings
4 courses |
C4 C4•G4 G4•D5 D5•A5 A5 | Brilliant tone mandolin | Tuned a 4th above the mandolin; 1 octave above the mandola. | ||
| Mandriola | 12 strings
4 courses |
G3 G3 G3•D4 D4 D4•A4 A4 A4•E5 E5 E5 |
Tricordia | Europe | Tricordia is also a similar instrument tuned differently; both instruments are known by both names. (see Trichordia) | |
| Manguerito | 7 strings
5 courses |
D4•G4•B4 B3•E4•B4 B4 | La Paz, Bolivia | |||
| Mejorana | 5 strings
5 courses |
D4•A4•A3•B3•E4
D4•G4•G3•B3•E4 |
Mejorana, Rumbo | Panama | Either tuning may be considered "standard." |
N
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Nevoud | 11 strings
6 courses |
C♯2•F♯2 F♯2•B2 B2•E3 E3•A3 A3•D4 D4 | Nevud, New Oud | Turkey | ||
| Nigenkin | 2 strings
2 courses |
No standard [*] | Yakumogoto | Japan | [*] Strings are tuned in unison, to any pitch convenient for vocalist. | |
| Nyckelharpa, standard | 4 strings
4 courses + 12 resonating strings |
C3 • G3 • C4 • A4
res.strings: G♯3 A3 B♭3 B3 C4 C♯4 D4 E♭4 E4 F4 F♯4 G4 |
Key-harp,
Chromatic Nyckelharpa |
Sweden | Number of sympathetic strings may vary. | |
| Nyckelharpa, tenor | 4 strings
4 courses + 12 resonating strings |
G2 • D3 • G3 • E4
res.strings: G♯2 A2 B♭2 B2 C3 C♯3 D3 E♭3 E3 F3 F♯3 G3 |
Sweden | This instrument is of very recent invention. |
O
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Octavina | 14 strings
6 courses |
F♯1•B1 B1•E2 E2•A2 A2 A2•D3 D3 D3•G3 G3 G3 |
Philippine Laúd | Philippines | One octave lower than the Philippine Bandurria | |
| Octobass | 3 strings
3 courses |
Berlioz/Musée de la Musique:
C1 G1 C2
|
Subcontrabass, triple bass | France | Extremely rare. Extant instruments tuned variously. | |
| Octofone | 8 strings
4 courses |
* C2 C2•G2 G2•D3 D3•A3 A3
|
USA | Any of the tunings may be considered "standard". | ||
| Oud | 11 strings
6 courses |
C2 F2 A2 D3 G3 C4
F2 A2 D3 G3 C4 F4
D2 G2 A2 D3 G3 C4
E2 A2 B2 E3 A3 D4
C♯2 F♯2 B2 E3 A3 D4
D2 F♯2 B2 E3 A3 D4 |
Ud, Al-Ud, Oud Arbi | Middle East | notated a 4th higher in ME notation; one octave higher in western notation. |
P
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Palida | 4 strings
4 courses |
D3 • A3 • E4 • B4 | Europe | |||
| Panduri | 3 strings
3 courses |
Standard/common:
G3 • A3 • C4 Alternate:
|
Phanduri | Georgia (Asia) | ||
| Pardessus de Viole | 5 strings
5 courses |
Standard:
C4 • E4 • A4 • D5 • G5 |
Soprano Viol | Europe | A member of the viol family.
A rare 6-string version adds a G3 below the low C string. |
|
| Pedal Steel Guitar | [ * ]
10 strings 10 courses |
Standard/common:
Alternates:
|
Steel guitar | United States | [ * ] 10 strings is more or less standard now, but instruments with 6, 8, 12, and other numbers of strings, and 2, 3, or 4 necks exist. A different tuning is usually applied to each neck, but setups vary from player to player. | 2-Neck Pedal Steel Guitar |
| Phin | 3 strings
3 courses |
A3 E4 A4 | Thailand | |||
| Piano | 230 strings[*]
88 courses |
A0 A♯0 B0 C1 C♯1 D1 D♯1 E1 F1 F♯1 G1 G♯1
[...] *C♯7 D7 D♯7 E7 F7 F♯7 G7 G♯7 A7 A♯7 B7 C8 |
Pianoforte, Grand, Grand Piano, Concert Grand, Upright, Upright Piano, Spinet | Europe (Italy) | * About 2⁄3 of courses are triple strung; some lower courses are double strung; the remaining bases are single strung. All multi-strung courses are tuned to unisons. Exact number of strings varies by manufacturer and model, 220 – 240 is typical.[17] Only lowest and highest octaves are shown; tuning of the intervening notes is chromatic. | Upright Piano: |
| Piano, Imperial Grand | 249 strings[*]
97 courses |
C0 C♯0 D0 D♯0 E0 F0 F♯0 G0 G♯0 A0 A♯0 B0
[...] *C♯7 D7 D♯7 E7 F7 F♯7 G7 G♯7 A7 A♯7 B7 C8 |
Imperial Grand, 290, Bösendorfer | Austria | * About 2⁄3 of courses are triple strung; some lower courses are double strung; the remaining bases are single strung. All multi-strung courses are tuned to unisons. Only lowest and highest octaves are shown; tuning of the intervening notes is chromatic. These extended-range pianos are very expensive and uncommon. | |
| Pipa | 4 strings
4 courses |
A2 D3 E3 A3 | Pi p'a | China | ||
| Portuguese guitar | 12 strings
6 courses |
D3 D2•A3 A2•B3 B2•E3 E3•A3 A3•B3 B3
C3 C2 • G3 G2 • A3 A2 • D3 D3 • G3 G3 • A3 A3 |
Guitarra Portuguesa | Portugal | Either tuning may be considered "standard". | |
| Prim | (See Bisernica, 5 string) | (See Bisernica, 5 string) |
Q
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Qanbūs | 7 stings
4 courses |
C • D D • G G • C C | Gambus | Yemen | ||
| Qinqin | 3 strings
3 courses |
G3 D4 A5 | China |
R
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Rajao | 6 strings
5 courses |
D4•G4•C4•E4•A4 (A4) | Rajão | Portugal | Sometimes the top course is not doubled, so there are only 5 strings | |
| Ramkie | 4 strings
4 courses |
C3 F3 A3 C4 | Afri-can, Kitaar | South Africa | Typically these are homemade, and therefore quite variable. | |
| Rebab | 2 strings
2 courses |
D3 A3 [*] | Java | * Tuning given is approximate: does not follow western equal temperament | ||
| Requinto | 6 strings
6 courses |
A2 D3 G3 C4 E4 A4 | Requinto guitar | Mexico | 4th above the standard guitar | |
| Ronroco | 10 strings
5 courses |
Standard Argentine (G6/Em7):
D4 D4•G4 G4•B4 B3•E4 E4•B4 B4 Standard Bolivian (F6/Dm7): C4 C4•F4 F4•A4 A3•D4 D4•A4 A4 Standard Chilean (C6/Am7): G3 G3•C4 C4•E4 E3•A3 A3•E4 E4 Common Variants: [*]
|
Baritone Charango,
Ronrroco |
Andean Region | [*] Instrument is still new enough that no one "standard" tuning has emerged. Chilean tuning (also a variant in Bolivia), one octave below the charango, is very common. Chilan variants (various octave doublings on courses 3, 4, and 5) depend on stringing—thinner strings are required for the high octaves in doubled courses. Argentine G6/Em7 tuning is also popular, which basically raises the pitch to that of the charangón. | |
| Ruan | See under individual sizes | Ruanqin | See listing for individual sizes:
|
See under individual sizes | ||
| Ruanqin | See Ruan | See Ruan | ||||
| Russian guitar | 7 strings
7 courses |
Standard/common:
D2 G2 B2 D3 G3 B3 D4 Alternates:
|
Semistrunnaya gitara, semistrunka | Russia | There are many variant tunings, mostly idiosyncratic to individual performers. |
S
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Samica | 4 strings
2 courses |
Standard/common:
B3 • E4 Alternate: A3 • D4 |
Dangubica, tambura | Balkans | Tuning is flexible, but the courses are always a fourth apart. | |
| Sanshin | 3 strings
3 courses |
Standard/common:
C3 • F3 • C4 Alternates:
|
Okinawa shamisen, jabisen | Ryukyu Islands, Japan | Standard aka Hon chōshi | |
| Santur | 72 strings
18 courses |
Golden strings (right) |
Iran, Turkey |
This is common tuning for Dastgāh-e Šur | ||
| Sanxian | 3 strings
3 courses |
Standard/common:
A2 • D3 • A3 Alternate: D3 A3 D4 |
Sanhsien, Small Sanxian, Xianzi, Quxian, Shuxian, Chinese Banjo | China | ||
| Sanxian, Large | 3 strings
3 courses |
G2 • D3 • G3 |
Sanhsien, Large Sanxian, Xianzi, Quxian, Shuxian, Chinese Banjo | China | Other size variants exist, but are uncommon. | |
| Sarangi, Nepalese | 4 strings
4 courses |
G4•C5•C5•G5 | Nepal | |||
| Sargija | 6 strings
3 courses |
C3 C3 • G3 G3 • D3 D3 | Sharkia, Sharki, Shargija | Albania | ||
| Seis Cinco | 6 strings
5 courses |
E3•A4 A3•D3•F♯4•B4 |
Seis Cinco | North-western Venezuela | ||
| Setar | 4 strings
3 courses |
C3 C4 • G3 • C4 | Iran | |||
| Shamisen | 3 strings
3 courses |
Standard/common:
D G D Alternates:
|
Samisen, Sangen | Japan | Standard = "Honchoshi" tuning | |
| Sitar | 7 strings
(3 are drones) plus 13 sympathetic strings |
C2 G2 C3 F3
drones: C5 C4 G3 |
North India | 4th string can be tuned to C. Sympathetic (resonating) strings are tuned to the raga being played. | ||
| Socavon | 4 strings
4 courses |
G3 D4 A4 B2 | Bocona | Panama | ||
| Strumstick | 3 strings
3 courses |
Standard/common:
G3 D4 G4 Alternate:
|
Dulcitar, Dulcimer stick, Strumbly, Standard Strumstick | US | Other sizes exist. General tuning is Root-5th-Octave, but the variations used are endless. | |
| Swedish lute (modern) | [*] | Standard / Common (12 strings / 12 courses):
F1 G1 A1 B1 C2 D2 open
A1, B1, C#2, D2, E2, F#2, G#2 open |
Scholander lute | Sweden | Other versions exist, mainly differing in the number of bass strings.
Open A was developed in 1793-1794 for the original, most developed form (taken from a cittern).[18] |
T
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Tambura | 8 strings
4 courses |
D3 D3 • G3 G3 • B3 B3 • E4 E4 |
Tamboura | Bulgaria | ||
| Tambura | 4 strings
4 courses |
sol do' do' do* |
Tanpura, Tampuri, Tamboura, Taanpura | India | *Classical Indian music has no absolute pitch. "Do" is tuned to a convenient note for any singers, or for the Raga being played, and the other strings are tuned relative to that reference. | |
| Tambura | 4 strings
2 courses |
D D • A A |
Tamboura | Macedonia | ||
| Tar | 6 strings
3 courses |
Common (for Dastgāh-e Šur)
C4 C4 • G3 G3 • C4 • C3 |
Iran | |||
| Tarica | 5 strings
3 courses |
Standard/common:
C2 • G2 G2 • C3 C3 Alternate:
|
Tarika, Tricord, Trichord | Europe | ||
| Taropatch | 8 strings
4 courses |
Standard:
G3 G4 • C3 C4 • E4 E4 • A4 A4 Alternates:
G4 G4 • C3 C3 • E4 E4 • A4 A4
G3 G3 • C3 C3 • E4 E4 • A4 A4 |
8 string Tenor Ukulele | Hawaii | The name comes from "Taropatch Fiddle" an early Hawaiian, slightly derogatory name for all Ukuleles used by the "Landed" Anglo Settlers however it came over to Mainland U.S.A. with the fiddle part dropped to describe an 8 string Ukulele | |
| Tembor | 5 strings
3 courses |
A A•D•G G | China | |||
| Terzin Kitarra | 6 strings
6 courses |
G♯2 B2 E3 A3 C♯4 E4 |
Malta | |||
| Theorbo | 14 strings
14 courses |
F1 G1 A1 B1C2 D2 E2 F2 G2 A2 D3 G3 B3 E3 |
Italy | May have as many as 19 courses, extending down to B0 | ||
| Timple | 5 strings
5 courses |
G4 C5 E4 A4 D5 |
Canary Island Tiple | Canary Islands, Spain | ||
| Tiple, American | 10 strings
4 courses |
A4 A3 • D4 D3 D4 • F♯4 F♯3 F♯4 • B3 B3 |
Tiple ukulele, Martin Tiple | US | The D and F♯ are triple-strung; the other strings are paired. | |
| Tiple, Columbian | 12 strings
4 courses |
Standard/Traditional:
C4 C3 C4 • E4 E3 E4 • A4 A3 A4 • D4 D4 D4 Alternate:
|
Tiple Colombiano | Colombia | Triple strung | |
| Tiple de Menorca | 5 strings
5 courses |
D4•G4•C5•E5•A5 | Menorca, Spain | |||
| Tiple, Puerto Rican | 5 strings
5 courses |
E3 • A3 • D4 • G4 • C5 |
Tiple Doliente | Puerto Rico | ||
| Tiple Requinto | 12 strings
4 courses |
Standard/Traditional:
C4 C4 C4 • E4 E4 E4 • A4 A4 A4 • D4 D4 D4 Alternate:
|
Tiple Requinto Colombiano | Colombia | Triple strung: smaller than Tiple Colombiano, and central lower octave strings are replaced with unisons. | |
| Tres,
Cuban |
6 strings
3 courses |
Standard/common:
G4 G3• C4 C4• E3 E4 Alternate:
A4 A3• D4 D4 • F♯3 F♯4 |
Tres, Tres Cubano | Cuba | ||
| Tres,
Puerto Rican |
9 strings
3 courses |
Standard/common:
G4 G3 G4 • C4 C4 C4 • E4 E3 E4 Alternates:
|
Tres, Tres Puerto Rico | Puerto Rico | Note that alternates simply change the location of the octave doublings. | |
| Tricordia | 12 strings
4 courses |
G2 G3 G3 • D3 D4 D4 • A3 A4 A4 • E4 E5 E5 |
Mandriola | Mexico | Although tuned differently from the mandriola, both instruments are known by both names | |
| Tzouras | 6 strings
3 courses |
D3 D4 • A3 A3 • D4 D4 |
6 strings/3 courses | Tzouras | Greece |
U
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Ukulele, Baritone | 4 strings
4 courses |
Standard/common:
D3 G3 B3 E4 Alternate (rare):
|
Baritone Uke, Bari Uke | U.S.A. | Same as 4 highest-pitched guitar strings | |
| Ukulele, bass | 4 strings
4 courses |
E2 A2 D3 G3 |
Bass Ukulele, bass Uke | US | Same as bottom four strings of the guitar. A relatively new instrument; unlike the UBass (see below) it has sufficient volume to be played acoustically, and sounds more like a uke than a bass. | |
| Ukulele, contrabass ("UBass") | 4 strings
4 courses |
E1 A1 D2 G2 |
Bass Uke, contrabass Ukulele, Rubber Bass, Travel Bass, U-Bass | US | Same as bass guitar. A relatively new instrument that has to be amplified to be heard; tone is much like a double bass. Compared to the acoustic bass uke (see above), this is really a contrabass instrument. | |
| Ukulele, Concert | 4 strings
4 courses |
Standard/common:
G4 C4 E4 A4 Alternate:
|
Uke,
Alto Ukulele |
U.S.A | The size up from a Soprano. The original name was used to try and convey that the Ukulele in question was a better and more professional than the standard model. The current size comes from when C. F. Martin & Co. started making a 4 string version of their Taropatch. | |
| Ukulele, Pocket | 4 strings
4 courses |
Standard/common:
D5 G4 B4 E5 Alternate:
|
Pocket Uke, Mini Uke, Sopranino Ukulele, Sopranissimo Ukulele | Hawaii | a miniature ukulele first produced by the Hawaiian maker Jonah Kumalae very early in the 20th century which he referred to as a Mini | |
| Ukulele, Soprano | 4 strings
4 courses |
Standard/common:
G4 C4 E4 A4 Alternate (traditional):
|
Uke | Hawaii | The standard, basic ukulele. Traditionally, D6 tuning was used though C6 tuning is now most common. | |
| Ukulele, Tahitian | 8 strings
4 courses |
G4 G4 • C5 C5 • E5 E5 • A4 A4 |
Tahitian banjo, Tahitian Ukulele, Ukulélé Tahitien, Youke | Tahiti | This is a fairly modern instrument that was developed in the last quarter of the 20th century | |
| Ukulele, tenor | 4 strings
4 courses |
Standard/common:
G4 C4 E4 A4 Alternate:
|
Uke, tenor Uke | Hawaii | 5-, 6- and 8- string versions exist: 5-string has 4th (lowest)) course doubled; 6-string has 1st (highest) and 3rd courses doubled (see Taropatch); 8-string has all 4 courses doubled (see Lili'u) |
V
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Veena | 7 strings
7 courses |
C3 • D3 • E3 • F3 • G3 • A3 • B3 |
Vina, Saraswati Veena; Sawaswati Vina | South India | Pitches are approximate: does not use the western equal tempered tuning system. | |
| Vihuela | 5 strings
5 courses |
A3 • D4 • G4 • B3 • E4 |
Mexico | This is the modern Mariachi instrument. Vihuela also refers to many historic antecedents of the guitar, in various configurations, most of them currently obsolete. | ||
| Viol, alto | 6 strings
6 courses |
C3 F3 A3 D4 G4 C5 |
Europe | |||
| Viol, baritone | 6 strings
6 courses |
F2 A2 D3 G3 C4 F4 |
Alto-tenor viola da gamba (Fidel) named by Wulf | Europe | ||
| Viol, bass | 6 strings
6 courses |
D2 G2 C3 E3 A3 D4 |
Tenor viola da gamba (Fidel) named by Wulf | Europe | ||
| Viol, bass | 7 strings
7 courses |
A1 D2 G2 C3 E3 A3 D4 |
Europe | |||
| Viol, contrabass | 6 strings
6 courses |
D1 G1 C2 E2 A2 D3 |
Violone, D'violone | Europe | octave lower than the 6-string bass viol | |
| Viol, Soprano | See Pardessus de Viole | See Pardessus de Viole | ||||
| Viol, tenor | 6 strings
6 courses |
G2 C3 F3 A3 D4 G4 |
Viol da gamba, viola da gamba, alto viola da gamba (Fidel) named by Wulf | Europe | ||
| Viol, treble | 6 strings
6 courses |
D3 G3 C4 E4 A4 D5 |
Soprano viola da gamba (Fidel) named by Wulf | Europe | ||
| Viola | 4 strings
4 courses |
C3 G3 D4 A4 |
Europe | Pitched a 5th below the violin. | ||
| Viola amarantina | 10 strings
5 courses |
D3 D2•A3 A2•B3 B2•E3 E3•A3 A3 | Viola aramante, viola de dois coracois | Amarante, Portugal | ||
| Viola beiroa | 12 strings
7 courses |
D3•D3•A3 A2•D3 D2•G3 G2•B3 B3•D3 D3 | Portugal | |||
| Viola braguesa | 10 strings
5 courses |
C4 C3•G4 G3•A4 A3•D4 D4•G4 G4 |
Viola da braga | Portugal | ||
| Viola caipira | 10 strings
5 courses |
A3 A2 • D4 D3 • F♯4 F♯3 • A3 A3 • D4 D4 |
Viola de dez cordes, viola sertaneja | Brazil | ||
| Viola campaniça | 10 strings
5 courses |
C3 C2 • F3 F2 • C3 C3 • E3 E3 • G3 G3 |
Viola de beja | Portugal | ||
| Viola da gamba | See Viol, tenor | See Viol, tenor | ||||
| Viola da terra | 12 strings
5 courses |
A3 A3 A2•D4 D4 D3•G3 G3•B3 B3•D4 D4 |
Azores (Portugal) | |||
| Viola de arame | 9 strings
5 courses |
G3 G2•D3 D2•G3 G3•B3•D3 D3 |
Viola de Madeira | Madeira, Portugal | ||
| Viola de cocho | 5 strings
5 courses |
G3 • D3 • E3 • A3 • D4 |
Mato Grosso, South-western Brazil | |||
| Violão de sete cordas | 7 strings
7 courses |
Standard/common:
C2•E2•A2•D3•G3•B3•E4 Alternate:
|
Brazil | |||
| Viola sertaneja | 10 strings
5 courses |
[*]
A3 A2•D4 D2•F♯4 F♯3•B3•A3 A3 A3•D4•G4 G4•B3•B3 B3 B3•E4 E4 E4 |
Viola nordestina | Brazil | Two different arrangements are employed for the courses:
2-2-2-2-2 (1st tuning) or 1-1-2-3-3 (2nd tuning) |
|
| Viola Terceira | 15 strings
6 courses |
E3 E3 E2•A3 A3 A2•D4 D4 D3•G4 G3•B3 B3•E4 E4 |
Viola da Terceira, Viola Terceirense | Azores (Portugal) | ||
| Viola toeira | 12 strings
5 courses |
A3 A3 A2 • D4 D4 D3 • G4 G3 • B3 B3 • E3 E3 |
Portugal | |||
| Violin | 4 Strings
4 courses |
G3 D4 A4 E5 |
Fiddle (colloquial) | Lombardy | For other tunings see fiddle | |
| Violin, tenor | 4 Strings
4 courses |
Standard/common:
G2 D3 A3 E4 Alternate:
|
Tenor violin, baritone violin, violotta, tenor cello | USA | Standard is one octave below the violin;
4th below the viola. Rare. |
W
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Walaycho | 10 strings
5 courses |
*Bolivian (F6):
C5 C5•F5 F5•A5 A4•D5 D5•A5 A5
D5 D5•G5 G5•B5 B4•E5 E5•B5 B5 |
Waylacho, hualaycho, maulincho | Andean region | A soprano charango
F6 = 4th higher than the charango G6 = 5th higher than the charango |
|
| Waldzither, bass | 9 strings
5 courses |
Standard/common:
A2 • E3 E3•A3 A3•C♯4 C♯4•E4 E4 |
Germany | |||
| Waldzither, descant | 9 strings
5 courses |
Standard/common:
G3 • D4 D4•G4 G4•B4 B4•D5 D5 |
Bergmannszither, Walddoline | Germany | ||
| Waldzither, Heym | 14 strings
6 courses |
Standard/common:
C2 C2•G3 G3 G3•C4 C4 C4•E4 E4 E4•G4 G4 G4 |
Germany | Very rare, and possibly obsolete | ||
| Waldzither, piccolo | 9 strings
5 courses |
Standard/common:
C4 • G4 G4•C5 C5•E5 E5•G5 G5 Alternates:
|
Germany | |||
| Waldzither, tenor | 9 strings
5 courses |
Standard/common:
C3 • G3 G3•C4 C4•E4 E4•G4 G4 Alternates:
|
Waldzither, Forest zither | Germany | The tenor is the standard waldzither;
several other, less common tunings are also used[19] |
X
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Xenorphica | 73 strings
73 courses |
F1 F♯2 G1 G♯1 A1 A♯1 B1 C2 C♯2 D2 D♯2 E2[...] *
F♯6 G6 G♯6 A6 A♯6 B6 C7 C♯7 D7 D♯7 E7 F7 |
Claviharp, harp piano,
keyed harp |
Austria | Only lowest and highest octaves are shown; tuning of the intervening notes is chromatic.
Rare. |
|
| Xiaoruan | 4 strings
4 courses |
D3 A3 D4 A4' | Alto Ruan | China | lit. "small Ruan" |
Y
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Yakumogoto | See Nigenkin | See Nigenkin | ||||
| Yaylı tambur | 6 strings
3 courses |
D2 D2•A2 A2•D3 D3 |
Turkish tambur | Turkey | the bowed variant (versus the mızraplı tambur, the plucked variant) of the Turkish tambur | |
| Yueqin | 4 strings
4 courses |
G3•D4•G4•D5 |
Yueh qin,
Yueh chin, Moon guitar |
China | ||
| Yueqin,
Taiwanese |
2 strings
2 courses |
D3•A4 |
Hengchun yueqin,
Yueh qin, Yueh chin, Moon guitar |
Taiwan |
Z
[edit]| Instrument | Strings & Courses | Tuning(s) | Alternative Names | Origin | Notes | Picture |
|---|---|---|---|---|---|---|
| Zheng | 18 strings
18 courses |
Common:
C2 D2 E2 G2 A2 C3 D4 E4 G4 A4 C4 D4 E4 G4 A4 C5 D5 E5 |
Guzheng, Gu Zheng, Pinyin | China | Tuning is not absolute, and is not limited by Western equal temperament.
Zhengs also come with varying numbers of strings, typically from 16–26; the pentatonic tuning is extended to accommodate these extra (high and low) strings. |
|
| Zhonghu | 2 strings
2 courses |
|
China | Either tuning may be considered "standard". | ||
| Zhongruan | 4 strings
4 courses |
Standard/common:
G2 D3 G3 D4 Alternates:
|
Tenor Ruan, ruanjian, ruanqin | China | lit. "medium Ruan";
This is the standard/most common instrument of the five-member ruan family. |
|
| Zither, Alpine | 5 fretted strings[*]
5 courses plus 37 open accompaniment & bass strings |
Fretted strings standard/common:
A4 A4 D4 G3 C3 Alternate:
[See ZITHER TUNING CHART, below, for unfretted string tunings] |
Alpine Zither, Harp Zither | Austria, Germany, elsewhere. | Standard Tuning aka "Munich"
[*]
|
|
| Zither, Concert | 5 fretted strings[*]
5 courses plus 29 – 30 open accompaniment & bass strings |
Fretted strings standard/common:
A4 A4 D4 G3 C3 Alternate:
[See ZITHER TUNING CHART, below, for unfretted string tunings] |
Concert Zither, Fretted Zither | America, Germany, elsewhere. | Standard aka "Munich"
[*]
|
|
| Zither, guitar | Varies | Varied open string chord sets and chromatic or diatonic tuning of additional open strings. The string tuning is often printed on the instrument itself. See the picture. No frets nor fingerboard. | Guitar zither, chord zither, fretless zither | Austria, Germany, elsewhere. | May have from 12 to 50 strings, or more, depending on design
|
Zither tuning chart
[edit]| ZITHER TUNING CHART | |||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| FRETTED | UNFRETTED | ||||||||||||||||||||||||||||||||||||||||||
| STRING | Melody | Accompaniment | Basses | Countrabasses | |||||||||||||||||||||||||||||||||||||||
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | ||
| PITCH | Munich | A4 | A4 | D4 | G3 | C3 | E♭4 | B♭3 | F4 | C4 | G3 | D4 | A3 | E4 | B3 | F♯3 | C♯4 | G♯3 | E♭3 | B♭2 | F3 | C3 | G2 | D3 | A2 | E3 | B2 | F♯2 | C♯3 | G♯2 | F2 | E2 | E♭2 | D2 | C♯2 | C2 | B1 | B♭1 | A1 | G♯1 | G1 | F♯1 | F1 |
| Viennese | A4 | D4 | G3 | G3 | C3 | Ab4 | E♭4 | B♭3 | F4 | C4 | G4 | D4 | A3 | E4 | B3 | F♯4 | C♯4 | G♯3 | E♭2 | B♭2 | F2 | C3 | G2 | D2 | A2 | E2 | B2 | F♯2 | C♯2 | G♯2 | C2 | B1 | B♭1 | A1 | G♯ | G1 | F♯1 | F1 | |||||
| Notes: | Basic | Concert | Alpine | ||||||||||||||||||||||||||||||||||||||||
Notes
[edit]Constructs such as ibid., loc. cit. and idem are discouraged by Wikipedia's style guide for footnotes, as they are easily broken. Please improve this article by replacing them with named references (quick guide), or an abbreviated title. (March 2024) |
- ^ Marcuse, Sibyl; Musical Instruments: A Comprehensive Dictionary; W. W. Norton & Company (1975).
- ^ Randel, Don Michael, Ed.; The New Harvard Dictionary of Music; Cambridge, Massachusetts: The Belknap Press of Harvard University Press (1986). p. 211.
- ^ Backus, John; The Acoustical Foundations of Music; New York: W. W. Norton & Company (1975).
- ^ Ibid. p. 60-61.
- ^ Ekkel, Bibs; Complete Balalaika Book; Mel Bay: Pacific. Mo., 1997. pp.xiv, 92.
- ^ Man Playing Contrabass Banjo
- ^ Man Playing Contrabass Banjo
- ^ Long Scale Cittern
- ^ Mid Scale cittern
- ^ Short Scale Cittern
- ^ The two Puerto Rican cuatro traditions
- ^ Ibid.
- ^ Ibid.
- ^ Ibid.
- ^ Rockwell Sorts Out the Differences
- ^ See for Example: Hanson, Mark; The Complete Book of Alternate Tunings; West Linn, Oregon: Accent of Music. (1995)
- ^ Smith, Eric; Piano Care & Restoration; Blue Ridge Summit, Penn.: TAB Books, Inc. (1981). p. 60.
- ^ "The Swedish Lute 1". www.tabulatura.com. Retrieved 2024-04-24.
- ^ Waldzither Tuning
See also
[edit]References
[edit]- Brody, David; The Fiddler's Fakebook: The Ultimate Sourcebook For The Traditional Fiddler; Music Sales America (1992). ISBN 0825602386
- Dearling, Robert; Stringed Instruments; Chelsea House Publishing (2000). ISBN 0791060926
- Hanson, Mark; The Complete Book of Alternate Guitar Tunings; Music Sales America (1995). ISBN 0936799137
- Marcuse, Sibyl; Musical Instruments: A Comprehensive Dictionary; W. W. Norton & Company (1975). ISBN 0393007588
- Piston, Walter; Orchestration; W. W. Norton & Company (1955). ISBN 0393097404
- Randell, D. M. (editor); Harvard Dictionary of Music, 4th Edition; Belknap Press of Harvard University Press (2003). ISBN 0674011635
External links
[edit]Stringed instrument tunings
View on GrokipediaFundamentals
Terminology
In the context of stringed instrument tunings, pitch refers to the perceptual attribute of a sound determined by its frequency, with higher frequencies corresponding to higher pitches.[8] An octave is the interval between two pitches where the higher pitch has exactly double the frequency of the lower one, creating a sense of resolution and equivalence in musical structure.[8] An interval is the distance in pitch between two notes, measured in semitones or steps, which forms the basis for constructing scales and harmonies in tuning systems.[9] A unison occurs when two strings or notes produce the same pitch simultaneously, resulting in reinforcement rather than separation.[10] The perfect fifth, a consonant interval spanning seven semitones with a frequency ratio of 3:2, is particularly stable and foundational in many tuning traditions due to its harmonic purity.[11] Relative tuning involves adjusting the pitches of strings in relation to one another, often starting from a single reference string, to achieve consonant intervals without reference to an external standard.[12] In contrast, absolute tuning sets the instrument's pitches to a fixed reference, such as concert A at 440 Hz, ensuring consistency across ensembles.[13] Scordatura, derived from the Italian scordare meaning "to be out of tune" (from Latin discordare, "to disagree"), denotes any deliberate deviation from an instrument's conventional tuning to facilitate specific musical effects or extended range.[14][15] String numbering conventions vary by instrument family but generally prioritize the highest-pitched string as the first. For plucked instruments like the guitar, strings are numbered from 1 (thinnest, highest pitch) to 6 (thickest, lowest pitch), reflecting the order from the player's perspective.[16] For bowed instruments like the violin, the convention numbers from the highest string (E, first string) to the lowest (G, fourth string), aligning with reading from left to right on the staff.[17] Tunings are categorized conceptually into standard tuning, the default configuration for an instrument that balances playability and intonation; alternate tuning, any variation from the standard that alters string pitches for expressive or technical purposes; and open tuning, a subset of alternate tunings where the open strings collectively form a complete chord, enabling resonant strumming without fretting.[18]Essential Terminology Glossary
- Absolute tuning: Fixing string pitches to a universal reference frequency, such as A=440 Hz, for ensemble synchronization.[13]
- Alternate tuning: A non-standard arrangement of string pitches designed to expand harmonic possibilities or simplify certain voicings.[19]
- Chord: A harmonic set of three or more pitches sounded simultaneously, often the target in open tunings.[9]
- Frequency: The number of vibrations per second of a sound wave, directly determining pitch height.[8]
- Half-step (semitone): The smallest interval in Western music theory, equivalent to one-twelfth of an octave.[11]
- Intonation: The accuracy of pitch alignment relative to intended intervals or a tuning system.[20]
- Interval: See core definition above; a key concept in tuning, encompassing both melodic and harmonic distances (detailed further in the Intervals and Harmonics section).[9]
- Octave: See core definition above.[8]
- Open tuning: An alternate tuning where unfretted strings produce a chord, facilitating slide and resonant techniques.[18]
- Perfect fifth: See core definition above.[11]
- Pitch: See core definition above.[8]
- Relative tuning: See core definition above.[12]
- Scordatura: See core definition above.[14]
- Standard tuning: The conventional pitch assignment for an instrument's strings, optimized for common repertoire and technique.[19]
- Unison: See core definition above.[10]
- Whole step: An interval comprising two half-steps, forming the basis for diatonic scales.[11]
Historical Overview
The origins of stringed instrument tunings trace back to ancient civilizations, where lyres and harps emerged as prominent chordophones around 2500 BCE in Mesopotamia and Egypt. Archaeological evidence from sites like Ur reveals these early instruments, often constructed with 7 to 11 strings, were tuned to simple scales that facilitated melodic play in ritual and daily contexts. Scholarly analyses suggest these tunings were primarily pentatonic, emphasizing intervals that produced consonant harmonies suited to the cultural music of the time, such as those depicted in tomb reliefs and cuneiform records.[21][22][23] During the medieval and Renaissance periods, the introduction of fretted lutes and viols marked a significant advancement in tuning precision, heavily influenced by Pythagorean principles derived from ancient Greek theory. Frets, often made from gut tied around the neck, allowed for consistent interval placement based on ratios like 3:2 for perfect fifths, enabling polyphonic music in courts and churches across Europe. This era saw tunings evolve to support modal systems, with lutes typically featuring four to six courses tuned in fourths, reflecting the mathematical tuning systems outlined in treatises from the 9th century onward.[24][25] The Baroque era brought further shifts, particularly in the violin family, where precursors to equal temperament emerged by the 1600s to accommodate the growing complexity of tonal music. Luthiers and composers adapted tunings to balance intonation across keys, moving away from strict Pythagorean intervals toward meantone systems that tempered thirds for sweeter harmonies in ensemble settings. Antonio Stradivari played a pivotal role in establishing violin tuning norms through his innovative designs, which optimized string tension and scale lengths for a' = 415 Hz pitch standards, influencing the instrument's projection and versatility in orchestral use.[26][27] In the 19th and 20th centuries, tunings standardized amid industrialization and genre diversification, with the guitar's EADGBE configuration becoming widespread by the early 1800s, as evidenced in compositions by figures like Fernando Sor. This tuning, with its sequence of fourths interrupted by a major third, facilitated classical and romantic repertoire while allowing transposition ease. Folk and jazz traditions spurred alternate tunings, such as open G or DADGAD, to evoke modal flavors and extended harmonies, revitalizing the practice during the 20th-century folk revival. Meanwhile, experimental composer Harry Partch advanced microtonal tunings in the mid-20th century, adapting string instruments like custom guitars to 43-tone scales for just intonation, challenging Western equal temperament conventions.[5][28][29]Theoretical Foundations
Intervals and Harmonics
In the physics of vibrating strings, the harmonic series arises from standing waves formed when a string is fixed at both ends and set into transverse vibration. The fundamental frequency, or first harmonic, corresponds to the lowest possible standing wave mode, with a single antinode in the middle and nodes at the ends, producing a wavelength twice the string's length. Higher overtones, or harmonics, are integer multiples of this fundamental: the second harmonic vibrates at twice the frequency, sounding an octave above the fundamental with an additional node in the center; the third harmonic, at three times the frequency, sounds a perfect fifth above the octave, featuring two additional nodes dividing the string into three equal segments.[30][31][32] These harmonics create nodal patterns along the string, where points of zero displacement (nodes) occur at fixed ends and additional interior positions for higher modes. For the fundamental, nodes are solely at the endpoints; the second harmonic adds a central node, forming two loops; the third adds nodes at one-third and two-thirds lengths, yielding three loops. Such patterns can be visualized as:- Fundamental (1st harmonic): Node -- Antinode -- Node
- 2nd harmonic: Node -- Node -- Node (with antinodes between)
- 3rd harmonic: Node -- Node -- Node -- Node (antinodes between each pair)
Temperaments and Intonation
Temperaments refer to systems for dividing the octave into intervals that allow for consistent tuning across keys, while intonation addresses the accuracy of pitch realization, particularly the challenges posed by string physics in achieving these ideals. In stringed instruments, temperaments balance harmonic purity with modulation flexibility, but deviations arise due to inharmonicity—the tendency of stiff strings to produce overtones that deviate from integer multiples of the fundamental frequency.[39][40] Equal temperament divides the octave into 12 equal semitones, each with a frequency ratio of , enabling seamless transposition across all keys without retuning. This system approximates natural intervals but introduces slight impurities, such as a perfect fifth that is 2 cents flat compared to the just ratio of 3:2 (702 cents). Widely adopted in modern Western music, it suits fixed-pitch stringed instruments by prioritizing versatility over absolute consonance.[39][41] Just intonation derives intervals from simple integer ratios in the harmonic series, yielding pure consonance; for example, the perfect fifth is 3:2 (702 cents) and the major third is 5:4 (386 cents). These ratios correspond to overtones like the second and third harmonics for the fifth, or the fourth and fifth for the major third, producing beats-free intervals that enhance chordal harmony. However, it limits modulation, as ratios do not close evenly within the octave, making it ideal for static keys in string ensembles but impractical for chromatic works.[42][42] Pythagorean tuning builds a scale through a chain of 12 perfect fifths (each 3:2, 702 cents), but the cycle exceeds seven octaves by the Pythagorean comma (about 23.46 cents), necessitating a narrowed "wolf" fifth (ratio ≈1.4798, or 678.49 cents) to fit. This creates dissonant intervals, such as a major third of 408 cents (22 cents sharp from just), restricting usable keys and highlighting the trade-off between fifth purity and overall scale coherence.[43][43][41] Intonation challenges in stringed instruments stem from inharmonicity, where string stiffness raises higher partials, requiring stretched octaves—tuning the upper note slightly sharp (e.g., 20-30 cents on guitars)—to align perceived pitch with ideal ratios and reduce beating. On guitars, this manifests as wider octave intervals to compensate for the G string's pronounced inharmonicity, improving chord resonance. In bass tunings, compensation involves adjusting the bridge saddle (e.g., setbacks of several millimeters) to correct fret-induced pitch errors from string deformation and inharmonicity, minimizing deviations up to 64 cents at higher frets.[40][40][44] The following table compares key intervals across temperaments, showing cent deviations from just intonation ideals (1 cent = 1/100 semitone in equal temperament):| Interval | Just (cents) | Pythagorean (cents) | Deviation from Just | Equal Temperament (cents) | Deviation from Just |
|---|---|---|---|---|---|
| Perfect Fifth | 702 | 702 | 0 | 700 | -2 |
| Major Third | 386 | 408 | +22 | 400 | +14 |
Plucked String Instruments
Guitar Tunings
The guitar, as the most prevalent plucked fretted string instrument, employs a variety of tunings that facilitate diverse musical styles, from classical to rock and folk. Standard tuning serves as the foundation for most guitar playing, while alternate tunings like open and drop variants expand harmonic possibilities and simplify certain chord forms. These tunings are typically based on equal temperament, dividing the octave into 12 equal semitones for consistent intonation across the fretboard.[5] Standard tuning for a six-string guitar, from lowest to highest string, is E2-A2-D3-G3-B3-E4. This configuration features perfect fourth intervals between the lowest three pairs of strings (E2 to A2, A2 to D3, and D3 to G3), a major third from G3 to B3, and another perfect fourth from B3 to E4, creating a balanced structure for fretted chord voicings and scales. The open-string frequencies, assuming A4 at 440 Hz, are E2 at 82.41 Hz, A2 at 110.00 Hz, D3 at 146.83 Hz, G3 at 196.00 Hz, B3 at 246.94 Hz, and E4 at 329.63 Hz.[5] This tuning is widely used in classical, rock, and general acoustic playing, with variations like capo adjustments for key changes.| String | Note | Frequency (Hz) |
|---|---|---|
| 6 (low) | E2 | 82.41 |
| 5 | A2 | 110.00 |
| 4 | D3 | 146.83 |
| 3 | G3 | 196.00 |
| 2 | B3 | 246.94 |
| 1 (high) | E4 | 329.63 |
| Tuning | Strings (low to high) | Open Chord | Primary Uses |
|---|---|---|---|
| Open G | D2-G2-D3-G3-B3-D4 | G major | Slide blues, rock riffs |
| Open D | D2-A2-D3-F♯3-A3-D4 | D major | Folk, fingerstyle |
| Tuning | Strings (low to high) | Key Adjustment | Primary Uses |
|---|---|---|---|
| Drop D | D2-A2-D3-G3-B3-E4 | Low E to D | Power chords, rock |
| Double Drop D | D2-A2-D3-G3-B3-D4 | Both E's to D | Drones, folk |
Bass Tunings
Bass tunings, applicable to both electric bass guitars and upright double basses, prioritize the sub-bass frequency range to provide foundational low-end support in ensembles, typically spanning from around 30 Hz to 400 Hz depending on the configuration.[49] Unlike the mid-range focus of six-string guitars, bass setups emphasize four or five strings tuned in fourths to anchor harmonic progressions.[50] The standard four-string tuning for electric bass is E1-A1-D2-G2, with each consecutive pair of strings separated by a perfect fourth interval, facilitating straightforward transposition from guitar parts while extending the low register.[50] This tuning yields fundamental frequencies of E1 at 41.20 Hz, A1 at 55.00 Hz, D2 at 73.42 Hz, and G2 at 98.00 Hz, establishing the instrument's characteristic rumble in genres from jazz to rock.[51] For five-string variants, common extensions include adding a low B0 string (30.87 Hz) below the standard set, resulting in B0-E1-A1-D2-G2, which broadens the downward range for modern metal and fusion without requiring a longer scale length.[52] Alternatively, a high C3 extension (130.81 Hz) above the G string creates E1-A1-D2-G2-C3, enhancing melodic flexibility in soloing while maintaining the core low-end foundation.[52] Upright double basses, often plucked in jazz contexts or bowed in classical settings, employ the same standard E1-A1-D2-G2 tuning to align with orchestral conventions, producing similar pitches but with greater acoustic resonance due to the instrument's larger body and scale.[53] In orchestral repertoire requiring pitches below E1, such as certain Baroque works, players frequently detune the lowest string to D1 (36.71 Hz) via scordatura, yielding D1-A1-D2-G2 to accommodate low D passages without relying on extensions.[54] Drop tunings adapt the standard setup for heavier genres like metal, where Drop D lowers the E1 string to D1 while keeping the upper strings at A1-D2-G2, enabling power chord voicings with enhanced low-end aggression.[55] Partial capos, though less common on bass than guitar, can simulate such drop configurations by clamping select strings, allowing quick shifts to alternate tunings like Drop D without full retuning.[56] On fretless basses, intonation adjustments are critical due to the absence of frets, typically involving bridge saddle modifications to align the open string and 12th-fret harmonic—moving the saddle backward if the fretted note is sharp, or forward if flat, verified with a tuner for precise pitch matching across the neck.[57]| String | Note | Frequency (Hz) |
|---|---|---|
| 4 (lowest) | E1 | 41.20 |
| 3 | A1 | 55.00 |
| 2 | D2 | 73.42 |
| 1 (highest) | G2 | 98.00 |
Banjo and Mandolin Tunings
The 5-string banjo, prominent in American folk and bluegrass traditions, typically employs open tunings that allow the open strings to form a complete chord, facilitating both rhythmic strumming and melodic play. The standard tuning, known as open G, consists of the notes G4 (5th string, short drone), D3 (4th string), G3 (3rd string), B3 (2nd string), and D4 (1st string), producing a G major chord when strummed openly. This configuration, with its reentrant design where the 5th string is shorter and tuned an octave higher than the 3rd, supports the bright, resonant tone essential to bluegrass ensembles.[58] Variations on this tuning adapt the instrument for specific regional styles within folk music. Double C tuning adjusts the open G by lowering the 4th string to C3 and raising the 2nd string to C4, resulting in G4-C3-G3-C4-D4, which emphasizes C major sonorities and eases certain melodic runs in old-time music. Modal tunings, such as gD G C D (G4-D3-G3-C4-D4), replace the major third (B3) with a minor third (C4) to evoke the Dorian mode, commonly used in Appalachian old-time traditions for its haunting, pentatonic qualities. These alternatives highlight the banjo's versatility in folk contexts, where retuning between pieces accommodates modal fiddle tunes without capos.| String | Open G Tuning | Double C Tuning | Modal Tuning (gD G C D) |
|---|---|---|---|
| 5th (drone) | G4 | G4 | G4 |
| 4th | D3 | C3 | D3 |
| 3rd | G3 | G3 | G3 |
| 2nd | B3 | C4 | C4 |
| 1st | D4 | D4 | D4 |
Ukulele and Small Plucked Tunings
The soprano ukulele, the smallest and most traditional variant, employs a standard re-entrant tuning of G4-C4-E4-A4, where the fourth string (G) is pitched higher than the third string (C), creating a non-linear ascending order that contributes to the instrument's bright, chime-like tone.[63] This tuning corresponds to approximate frequencies of 392 Hz for G4, 262 Hz for C4, 330 Hz for E4, and 440 Hz for A4, based on A4=440 Hz standard pitch, which emphasizes harmonics in the upper register for strumming patterns common in Hawaiian and folk music.[64] The re-entrant design impacts chord shapes by allowing the open G string to function as a leading tone in major chords like C (open strum: C-E-G-A, with the high G providing a sparkling resolution), enabling compact voicings that exploit the instrument's limited scale length without requiring barre chords for basic progressions.[65] In contrast, the baritone ukulele adopts a linear tuning of D3-G3-B3-E4, mirroring the lowest four strings of a standard guitar and spanning perfect fourth intervals throughout, which produces a deeper, more resonant sound suited to accompaniment roles.[66] This configuration avoids re-entrancy, allowing straightforward transposition of guitar chord shapes while maintaining a ukulele-scale body for portability.[67] Tenor ukuleles offer flexibility, with the standard high-G re-entrant tuning matching the soprano (G4-C4-E4-A4), but a popular linear variant—often called low-G or Canadian tuning—uses G3-C4-E4-A4, lowering the fourth string by an octave to extend the bass range without altering the overall GCEA structure.[68] This low-G setup, with frequencies around 196 Hz for G3 versus 392 Hz for high G4, facilitates smoother scale runs and fuller chord voicings, such as a richer C major (G-C-E-A with bass G), though it requires a wound string to achieve proper tension on the larger tenor scale.[69] The charango, a small ten-stringed Andean plucked instrument with five courses (four with paired strings and the third course with four strings in two unison pairs), features a standard tuning of G4/G4 (lowest course)-C5/C5-E5/E5 E5/E5-A5/A5-E6/E6 (highest course), tuned to form an Am7 chord that supports the pentatonic and modal scales of Bolivian, Peruvian, and Ecuadorian folk traditions.[70][71] This re-entrant arrangement enhances rhythmic strumming (punteo) patterns in ensemble settings like sikuris flute groups, with the paired strings providing a mandolin-like sustain for melodies evoking highland landscapes.[72] The tuning's impact on chord shapes is evident in open voicings for minor keys, where the low G4 pair anchors drones while upper pairs allow fingerstyle huayno rhythms without excessive string bending.[73]Harp and Lute Tunings
The concert harp, also known as the pedal harp, is typically tuned diatonically to the C♭ major scale in its default flat position, where all seven pedals are raised. This results in the pitches C♭, D♭, E♭, F♭, G♭, A♭, B♭ ascending across the strings, spanning approximately six octaves from the lowest C♭ to the highest G♭.[74] The instrument's double-action pedal mechanism allows for chromatic adjustments: each of the seven pedals—three on the left (D, C, B) and four on the right (E, F, G, A)—affects all strings of the corresponding pitch class simultaneously.[75] Depressing a pedal once shortens the strings to raise the pitch by a semitone (to natural), and twice raises it further to sharp; this enables the harpist to play in any key without retuning the entire instrument.[74] The pedal mechanism operates via a system of rods and forks that engage notches in the neck, altering string length at the top. For visualization, the pedals and their effects can be represented as follows:| Pedal Position | Left Pedals (D, C, B) | Right Pedals (E, F, G, A) | Resulting Pitch Adjustment |
|---|---|---|---|
| Up (Position 0) | Flat (♭) | Flat (♭) | C♭ major scale base |
| Middle (Position 1) | Natural (♮) | Natural (♮) | Raises to C major |
| Down (Position 2) | Sharp (♯) | Sharp (♯) | Chromatic alterations |
Bowed String Instruments
Violin Family Tunings
The violin family, encompassing the violin and viola, employs standard tunings based on perfect fifths, a system that promotes harmonic consonance and facilitates polyphonic playing. This tuning structure, rooted in just intonation approximations within equal temperament, allows for consistent intonation across the instruments despite their differing sizes and ranges. The violin, the smallest and highest-pitched member, serves as the soprano voice, while the viola provides the alto register, both integral to orchestral and chamber music ensembles. The standard violin tuning consists of the open strings G3, D4, A4, and E5, tuned in ascending perfect fifths from lowest to highest. With the reference pitch A4 set at 440 Hz, the approximate frequencies are 196 Hz for G3, 294 Hz for D4, 440 Hz for A4, and 659 Hz for E5.[80] These pitches are achieved on a typical scale length of 325–330 mm, where string tension is balanced to produce clear tone and responsiveness; higher tension on the upper strings supports their elevated frequencies. The viola, larger with a scale length of 350–380 mm, maintains the same fifths intervals but transposes downward to C3, G3, D4, and A4 to suit its extended body and lower tessitura. Its open string frequencies are approximately 131 Hz for C3, 196 Hz for G3, 294 Hz for D4, and 440 Hz for A4.[81] The longer strings necessitate reduced tension relative to the violin for equivalent relative pitches, influencing the instrument's warmer timbre and greater physical demands on the player.[82]| Instrument | Lowest String | Second String | Third String | Highest String | Scale Length (approx.) |
|---|---|---|---|---|---|
| Violin | G3 (196 Hz) | D4 (294 Hz) | A4 (440 Hz) | E5 (659 Hz) | 325–330 mm |
| Viola | C3 (131 Hz) | G3 (196 Hz) | D4 (294 Hz) | A4 (440 Hz) | 350–380 mm |
Cello and Double Bass Tunings
The standard tuning for the cello consists of four strings tuned in perfect fifths from lowest to highest: C2 (approximately 65.41 Hz), G2 (98.00 Hz), D3 (146.83 Hz), and A3 (220.00 Hz), with the reference pitch set at A3 = 440 Hz.[85][86] This configuration allows for consistent intonation across the instrument's range in orchestral and solo contexts, facilitating harmonic alignment with other strings like the violin family.[87] The double bass, the largest member of the orchestral string family, typically employs a four-string standard tuning of E1–A1–D2–G2, in perfect fourths, tuned an octave below the cello's pitches to provide foundational support in ensembles.[88][89] A five-string variant extends this downward to include a low B0 (approximately 30.87 Hz), enabling access to sub-bass registers for modern orchestral works or jazz, though it requires adjustments for string tension and playability.[90] Scordatura tunings alter the cello's standard setup for compositional effects, such as in Zoltán Kodály's Sonata for Solo Cello, Op. 8 (1915), where the strings are retuned to B1–F♯2–D3–A3 to facilitate open-string resonances and altered harmonics while maintaining relative fifths.[91] Intonation on the upright double bass differs from that on the electric bass guitar due to the former's longer scale length (typically 41–43 inches versus 30–34 inches), which amplifies slight finger placement errors in the fretless design, demanding heightened aural precision especially in ensemble settings.[92] Electric basses, often fretted, offer more consistent intonation across strings but sacrifice the nuanced expressive adjustments possible on the upright, where players rely on ear and pressure for just intonation in classical repertoire.[93] The double bass's lowest open string, E1 at 41.20 Hz, presents unique low-frequency challenges, including wolf tones from sympathetic vibrations and difficulties in projecting fundamental harmonics due to the instrument's resonant body size, often mitigated by wolf eliminators or rosin adjustments.[94][64] In the low register, thumb position—typically reserved for higher notes—impacts intonation indirectly through hand support techniques, as players shift from neck to half-position using the thumb for stability, ensuring accurate pitch despite the strings' lower tension and slower response.[95][96]Viola da Gamba and Hurdy-Gurdy Tunings
The viola da gamba, a family of fretted bowed string instruments central to Renaissance and Baroque consort and solo music, employs tunings patterned after fourths with an intervening major third to facilitate polyphonic playing across its sloped shoulder design and fretted neck. This configuration, distinct from the all-fourths tuning of viols' lute-like ancestors, allows for easier fingering of chords and divisions while maintaining intonation on the tied gut frets. Historical sources from the early 16th century, such as Italian treatises, document this standard as the basis for most viols, with adjustments for regional preferences in pitch and temperament.[97] The treble viola da gamba, typically a six-string instrument suited for soprano lines in consorts, is tuned from lowest to highest string as D3–G3–C4–E4–A4–D5, creating a re-entrant effect through the major third interval between the third and fourth strings that contrasts with the surrounding perfect fourths. This tuning spans two octaves and supports agile passagework in treble clefs, as evidenced in 16th-century Italian publications like Lanfranco's Scintille di musica (1533), which first codified such patterns for smaller viols. Frets ensure consistent semitone divisions, enabling the instrument's characteristic underhand bowing grip.[98][97] Larger bass viols, often serving continuo or solo roles, feature seven strings in Renaissance and later practice, tuned A1–D2–G2–C3–E3–A3–D4 to extend the range downward for richer harmonic support without sacrificing playability on the fretted fingerboard. This extension, documented in late 16th-century French sources, added the low A1 to accommodate bass lines in polyphony, with the familiar fourths-plus-third pattern preserved above. Variations in Renaissance tunings occasionally shifted intervals for modal music, such as tightening the major third for meantone temperament to enhance consonance in church keys.[98] The hurdy-gurdy, a Renaissance wheel-driven instrument blending keyboard and string elements, relies on drone-based tunings to produce sustained harmonic backings beneath melody lines, evoking bagpipe timbres through its rosined wheel. Configurations typically include 3–5 melody strings tuned in chain-of-fifths or fourths patterns, such as G3–D4–A4 for three strings, allowing diatonic scales via key-pressed tangents. Accompanying 2–4 drone strings, often set to G2 and D3, run parallel to the melody strings and sound continuously, providing tonic and dominant foundations in G or D modes common to folk and court repertoires.[99][100] Renaissance hurdy-gurdy tunings emphasized Pythagorean intervals for pure fifths on the melody strings, with drones fixed in octaves or fifths relative to the key (e.g., low G2 drone an octave below the melody tonic, paired with a middle D3 for harmonic tension). The tangent key mechanism, featuring adjustable wooden wedges on a short keyboard of 8–15 keys, stops the melody strings at fret-like positions to define the scale, enabling solo performance by a single player cranking the wheel. Historical variations included adding sympathetic strings for resonance or altering drone pitches for specific dances, as seen in 15th–16th-century iconography and treatises.[99][100] Drone configurations on the Renaissance hurdy-gurdy position the strings adjacent to the melody set: the two tenor drones (e.g., G3 and D4) lie closest to the player for subtle volume control via dampers, while bass drones (G2 and D3) extend toward the tailpin for deeper resonance. This layout, visible in period illustrations like those in Praetorius's Syntagma musicum (1619), ensures balanced timbre when the wheel engages all strings simultaneously, with tangents bypassing drones to maintain their open pitch.[100]Zither and Related Instruments
European Zither Tunings
The European zither family, encompassing the Alpine zither and concert zither, employs fixed tunings optimized for melodic lines on a fretted section and harmonic support via unfretted chord and bass strings. These instruments emphasize a horizontal layout with melody strings closest to the player, enabling fingerstyle playing in diatonic scales, while the chord strings provide chordal accompaniment through strumming or plucking groups of strings tuned to form major triads and related harmonies. The design prioritizes the key of A major for standard setups, reflecting regional folk traditions in the Alps.[101][102] In the Alpine zither, the configuration includes 5 melody strings tuned to A3, A3, D4, G4, and C5 (Munich tuning), spanning intervals primarily in fourths to support scalar passages in A major. Accompanying this are 28-36 chord strings, organized in a cycle of fifths with unisons within select courses to reinforce chord tones, allowing players to produce full harmonies by engaging adjacent strings. The frets on the melody section follow a diatonic scale pattern tailored to A major, with raised frets for the sharpened notes (C♯, F♯) to accommodate modal shifts common in Alpine folk music. An alternate tuning shifts the overall scheme to D major, adjusting the melody strings upward (e.g., D4, D4, G4, C5, F5) while maintaining the fifths-based structure for the chord strings.[103][101] The concert zither builds on this foundation but extends the lower register with additional bass strings, reaching up to 42 strings total, including 5 melody strings in the same A3-A3-D4-G4-C5 arrangement and an expanded set of 30-37 chord and bass strings tuned in fifths and unisons. This extension adds contrabass courses (often 5-8 strings) descending from low A2 or G♯2, enhancing depth for ensemble playing without altering the core melody tuning. Accompaniment strings are grouped in courses of 4-5 strings per pitch, typically in unisons to amplify volume, with the layout ensuring that strums over specific segments yield A major, D major, or E major chords essential to the repertoire. Frets remain diatonic, focused on the A major scale, though some models include half-frets for chromatic access.[102][101] Tuning pegs are arranged linearly along the top edge of the instrument, with melody pegs clustered on the left (player's side) for the higher pitches, followed by accompaniment pegs in sequence matching the fifths cycle, and bass pegs on the right for the lowest tones. A representative layout for a 35-string concert zither in Munich-style A major tuning is shown below, with strings numbered from 1 (highest melody) to 35 (lowest bass); note gauges vary from fine steel for melody to wound bass strings.| String Group | Strings | Notes (ascending pitch order within group) | Tuning Interval Basis |
|---|---|---|---|
| Melody (Fretted) | 1-5 | C5, G4, D4, A3, A3 | Fourths for diatonic play |
| Accompaniment (Unfretted) | 6-20 | G♯3 (x4 unisons), C♯4 (x4), F♯3 (x4), B3 (x4), E4 (x4) | Cycle of fifths, unisons per course |
| Bass (Unfretted) | 21-35 | E♭2 (x3), B♭2 (x3), F3 (x3), C3 (x3), G3 (x3), D3 (x3), A3 (x3), E3 (x3), B3 (x3), F♯3 (x3), C♯4 (x3), G♯3 (x3), D♭2 (x4) | Extended fifths cycle, some octaves for volume |
Dulcimer and Psaltery Tunings
The hammered dulcimer, a trapezoidal zither struck with hammers, typically employs a diatonic tuning based on the D major scale, spanning from D3 to D5 or higher across multiple bridges.[104] The standard fifth-interval layout positions notes such that the right side of the treble bridge sounds a perfect fifth above the adjacent left-side bass bridge notes, enabling access to related keys like G, C, and F major without retuning.[104] A separate bass bridge handles the lower register, starting with courses tuned to D3, followed by G3, C4, and F4, while the treble bridge covers the ascending diatonic sequence: D4-E4-F♯4-G4-A4-B4-C♯5-D5.[105] This configuration supports four octaves in D major primarily using the main treble and bass bridges 1 and 2.[106] Appalachian dulcimer tunings, often applied to the fretted mountain dulcimer variant, frequently incorporate modal variations to suit folk traditions, such as D Mixolydian in a DAD configuration.[107] In this tuning, the bass string is set to D3, the middle string to A3 (the fifth), and the paired melody strings to D4, allowing the Mixolydian mode (with its flattened seventh, C natural) to emerge from open strings and diatonic frets without additional accidentals.[107] This modal approach facilitates playing in keys like D or A minor by starting on appropriate frets, emphasizing the instrument's role in Appalachian folk music.[107] The psaltery, a medieval European zither often triangular in shape and played by plucking or bowing, features diatonic or chromatic tunings across 15-20 courses of strings, typically doubled for unison or octave reinforcement.[108] Diatonic models are commonly tuned to the C major scale, ranging from C3 to G5 over about one and a half octaves, with strings arranged in ascending order from the longest (lowest pitch) at the base to the shortest at the apex.[109] Chromatic versions incorporate sharps and flats on one side of a central hitch pin row, enabling full octave access to all 12 semitones, while diatonic layouts stick to natural notes for modal playing.[108] Bridge placements on the psaltery are critical for sound production, with two fixed wooden bridges—one near the hitch pins and one near the tuning pins—positioned to optimize string vibration and facilitate overtone generation when strings are lightly touched or bowed at nodal points.[109] For example, in a 16-course diatonic psaltery, bridges divide the soundboard to yield courses tuned as follows:| Course | Note (Diatonic C Major) |
|---|---|
| 1 (longest) | C3 |
| 2 | D3 |
| 3 | E3 |
| 4 | F3 |
| 5 | G3 |
| 6 | A3 |
| 7 | B3 |
| 8 | C4 |
| 9 | D4 |
| 10 | E4 |
| 11 | F4 |
| 12 | G4 |
| 13 | A4 |
| 14 | B4 |
| 15 | C5 |
| 16 (shortest) | D5 |
Asian Zither Tunings
Asian zithers, such as the Japanese koto and Chinese guzheng, employ pentatonic tunings that reflect traditional East Asian musical scales, emphasizing movable bridges for flexibility in pitch adjustment. These instruments typically feature non-equal temperaments, approximating just intonation through perfect fifth intervals tuned by ear, with variations of up to 10 cents between performers. This approach allows for subtle microtonal inflections, distinguishing them from Western equal-tempered systems. The Japanese koto, a 13-string half-tube zither, uses movable bridges known as ji—traditionally made of ivory or wood, now often plastic—to tune its strings to pentatonic scales. The standard tuning is hirajōshi (hira-jōshi), a hemitonic pentatonic scale most commonly set with notes D, E♭, G, A, B♭ repeating across octaves to span approximately three octaves.[112] This configuration supports the instrument's role in ensemble music like sankyoku, where the koto provides harmonic and melodic foundation. A notable variation for the koto is the hirajoshi scale transposed to A, featuring notes A, B, C, E, F, which derives from shamisen traditions and imparts a melancholic character suited to certain jiuta compositions. Bridge positions determine these tunings, enabling rapid changes between pieces without restringing, and the non-equal temperament yields frequency ratios close to just intonation, such as 3:2 for perfect fifths (approximately 702 cents rather than 700 in equal temperament). The Chinese guzheng, with 21 strings stretched over a resonant soundboard, follows a similar pentatonic framework but on a larger scale. Its standard tuning is also the D major pentatonic (D, E, F♯, A, B), distributed across four octaves with colored strings (often green for D and red for A) aiding navigation.[113] Movable bridges allow for this setup, and the instrument's triple-bridge design enhances sustain and timbre. To incorporate semitones absent from the pentatonic base, guzheng players press strings to the left of the bridges with the left hand, producing pitches like G or C♯ through bending techniques. Vibrato, known as chan-yin, is achieved by oscillating the left-hand pressure on the string, creating pitch fluctuations up to a major second for expressive ornamentation (huayin), which varies by regional style—such as wide, rapid bends in Henan school or slow glides in Kejia.[114] These adjustments approximate non-equal frequencies, enriching the melody without altering the fixed tuning. Cultural notation for these zithers prioritizes practical performance over precise Western staff equivalents. Koto scores employ a tablature system with Arabic numerals (1–13 for strings) and rhythmic symbols like beams for eighth notes or dots for extensions, supplemented by modifiers for techniques such as left-hand glissandi (e.g., 'o' for oshi).[115] Guzheng notation favors jianpu (numbered musical notation, using 1–7 for do–ti) or gongche pu for traditional pieces, capturing skeletal melodies (diaotou) that imply improvisation, though modern conservatory works increasingly use Western staff to denote bends and vibrato.[114]Non-Western and Specialized Instruments
Indian Stringed Tunings
Indian stringed instruments, particularly those used in Hindustani classical music, feature complex tuning systems that incorporate main playing strings, drone strings, and sympathetic strings to support the melodic framework of ragas. These tunings emphasize just intonation, where intervals are derived from simple whole-number ratios to achieve pure harmonic resonance, distinguishing them from equal-tempered Western systems. Sympathetic strings, running parallel but separate from the main strings, vibrate in response to played notes, enriching the timbre and sustaining the raga's emotional essence. Tunings may vary by performer, region, or specific raga, often incorporating microtonal adjustments for intonation. The sitar typically employs 6-7 main strings configured as Sa (upper octave), Pa (fifth), Sa (middle octave), and a lower Sa (often in C# as the tonic), with additional chikari strings for drones tuned to Sa and Pa.[116] These main strings provide the melodic and rhythmic foundation, while 11-13 sympathetic strings (tarab) are tuned to the specific notes of the raga being performed, such as the scale of Bilaval for a standard major-like structure.[117] This raga-specific tuning ensures that sympathetic vibrations align with the melody's swaras (notes), creating a shimmering resonance that evokes the raga's mood. The sarod, a fretless lute, uses 4 main melody strings tuned to ma (fourth above tonic), Sa (upper), Pa (fifth), and Sa (lower octave), facilitating fluid glissandi and bol techniques central to its style.[118] It includes 2-4 drone strings (chikari) set to Sa for rhythmic punctuation and 9-11 sympathetic strings tuned to the raga's scale, which lie beneath the main strings to amplify overtones without direct plucking.[118] This configuration, common in the Amjad Ali Khan gharana, balances melody and drone for intricate improvisations. The rudra veena, an ancient plucked instrument associated with dhrupad, features 4 main strings tuned across octaves—typically upper Sa, low Sa (kharaj), Pa (fifth), and another Sa—allowing for deep bass exploration.[119] It has 3 chikari drone strings tuned to high Sa for rhythmic support and 21 sympathetic strings calibrated in just intonation ratios, such as 4:3 for the perfect fourth (from Sa to Ma) and 3:2 for the fifth (Sa to Pa), to match the raga's microtonal nuances.[120] Raga-specific adjustments are essential, particularly the kharaj (low Sa) string on instruments like the sitar and rudra veena, which is lowered or emphasized in ragas requiring bass depth, such as Bhairav, to ground the performance in the lower register.[117] Sympathetic resonance occurs as these strings, positioned beneath the main bridge, vibrate sympathetically when matching harmonics are excited, producing a sustained, ethereal hum that integrates the raga's full scale; for instance, plucking a main Sa activates sympathetic strings tuned to its overtones and related swaras.[121] This interplay enhances the instrument's acoustic complexity without altering the core tuning.East Asian Bowed and Plucked Tunings
The erhu, a traditional Chinese two-string bowed instrument, employs a standard tuning of D4 for the inner string and A4 for the outer string, spanning a perfect fifth interval that facilitates its characteristic melodic range and expressive capabilities.[122] This tuning allows the erhu to produce a wide variety of pitches through finger pressure on the strings, with the bow positioned between them to enable versatile bowing directions. Bowing techniques significantly influence perceived intonation, as variations in bow pressure, speed, and contact point can subtly alter pitch accuracy and timbre, requiring players to master control for precise execution in performance.[123] The Japanese shamisen, a three-string plucked instrument played with a plectrum, is typically tuned in honchōshi to D4 for the lowest string, G4 for the middle string, and D5 for the highest string, featuring intervals of a perfect fourth between the first and second strings and a perfect fifth between the second and third.[124] This configuration supports the shamisen's role in accompanying vocals and ensembles, emphasizing rhythmic strumming and melodic lines suited to traditional genres like jiuta and tsugaru-jamisen. The tuning's structure promotes clear separation of bass, chordal support, and treble lines, enhancing the instrument's dynamic percussive quality. The pipa, a four-string Chinese lute plucked with the fingers, uses a standard tuning of A2 for the thickest string, D3 for the second, E3 for the third, and A3 for the fourth, resulting in intervals of a fourth, major second, and fourth that accommodate its broad repertoire from ancient court music to modern compositions.[125] This setup enables techniques like tremolo, harmonics, and rapid plucking patterns, with the intervals allowing fluid transitions across pentatonic-based scales prevalent in Chinese music.[125] A variation of the shamisen, the Okinawan sanshin, is typically tuned in honchōshi to C3 for the lowest string, F3 for the middle string, and C4 for the highest string, adapted for the islands' folk traditions with lighter string tension and a brighter tone.[126] This tuning emphasizes the instrument's role in communal singing and dance accompaniment, reflecting regional adaptations of mainland Japanese styles. Many of these tunings in East Asian bowed and plucked instruments are rooted in pentatonic frameworks, providing a foundation for modal improvisation and ensemble interplay.[124]Middle Eastern and African Stringed Tunings
Middle Eastern and African stringed instrument tunings emphasize modal and pentatonic frameworks that support improvisation, storytelling, and cultural rituals, distinct from Western tempered systems. In Middle Eastern traditions, the maqam system governs melodic modes with microtonal inflections, while African griot instruments favor pentatonic structures for rhythmic and harmonic simplicity. These tunings are adapted to fretless or sparsely fretted designs, allowing performers to adjust pitches dynamically for expressive nuance. Tunings may vary by performer, region, or specific maqam, often incorporating microtonal adjustments for intonation. The oud, a pear-shaped fretless lute central to Arabic and Persian music, typically features 5 or 6 courses of paired strings. A standard tuning for the Rast maqam, one of the most foundational modes, is D2-G2-A2-D3-G3-C4 (low to high), which aligns the tonic on the fourth course to facilitate the maqam's ascending tetrachord structure of whole tone, whole tone, half tone. [127] This configuration supports the Rast scale's key intervals, including a major third and perfect fourth from the tonic. The instrument's fretless neck enables microtonal variations, such as quarter-tones (e.g., a 1/4-flat second degree, approximately 90 cents above the tonic), essential for authentic maqam rendition. [128] The oud's fixed bridge and wooden soundboard produce a resonant, decaying tone that highlights subtle tuning shifts, though humidity affects string stability. [129] In West African Mandé traditions, the kora—a 21-string bridge-harp with a calabash gourd and animal skin soundboard—employs a diatonic tuning divided into two ranks straddling a central leather-covered bridge. The left-hand strings (11 higher ones) follow a high C major pentatonic pattern (C-D-E-G-A), while the right-hand strings (10 lower ones) align with a low F major (F-G-A-C-D), spanning over three octaves and enabling thumb-index finger plucking for harp-like arpeggios and bass lines. [130] This setup derives from the diatonic Silaba mode but emphasizes pentatonic subsets for griot epics, with variations like Tomora Ba slightly flattening the third and seventh degrees for modal color. [131] The skin soundboard, stretched over the gourd, imparts a buzzing timbre via nylon strings grazing the bridge, enhancing rhythmic drive while requiring frequent retuning due to skin tension changes. [130] The ngoni, a small four-string lute with a skin-covered gourd body used by West African griots for accompaniment, is commonly tuned in open fifths as G2-D3-G3-D4, creating droning harmonies that underpin pentatonic melodies in modes like those of the donso ngoni variant. [132] This all-fifths interval (approximately 702 cents between adjacent strings) allows strumming for chordal fifths and fingerpicking for scalar runs, often in G major pentatonic (G-A-B-D-E). [133] The movable bridge and taut skin soundboard contribute to a bright, percussive attack, with the skin's vibration amplifying overtones and necessitating adjustments for environmental factors like temperature. [134]Alternate and Experimental Tunings
Open and Drop Tunings
Open tunings involve configuring the strings of a stringed instrument such that strumming all strings without fretting produces a complete chord, typically a major triad like G major (G-B-D).[19] This principle allows for resonant drones and full harmonic voicings directly from open strings, facilitating techniques such as slide playing and harmonic overtones.[19] Drop tunings, by contrast, modify a baseline configuration—often standard tuning—by lowering the pitch of one string, usually the lowest, by a whole step to extend the instrument's lower range while preserving most intervals.[19] For instance, in drop D, the lowest string is detuned from E to D, reducing its frequency by a factor of (approximately 0.8909) in equal temperament, where each semitone corresponds to a frequency ratio of .[135] This adjustment maintains compatibility with familiar chord shapes on higher strings. The primary advantages of open tunings include simplified execution of barre-style chords across the fretboard and enhanced resonance from open-string drones, which suit folk, blues, and slide genres.[19] Drop tunings enable heavier, lower-pitched riffs with minimal retuning effort, allowing single-finger power chords and broader tonal depth, particularly beneficial for rock and metal styles.[19] Relative to standard tuning (e.g., E-A-D-G-B-E on guitar), these approaches offer expanded sonic palettes without requiring extensive relearning of fingerings.[19] Examples span instrument families; on the five-string banjo, open G tuning (g-D-G-B-D) aligns all strings to a G major chord, enabling straightforward rolls and chordal accompaniment in bluegrass music.[19] Hybrid applications, blending open and drop elements—such as double drop D (D-A-D-G-B-D)—appear in contemporary music, where artists combine lowered bass for aggressive riffs with open voicings for harmonic texture, as seen in rock tracks emphasizing dronality.[19][136]Scordatura and Retuning Techniques
Scordatura refers to the deliberate alteration of a stringed instrument's standard tuning to produce specific timbral effects, facilitate technical passages, or enhance resonance on particular pitches. The term, derived from Italian meaning "out of tune" or "mistuned," primarily applies to bowed string instruments like the violin and viola but extends to plucked and other types. This technique contrasts with accidental detuning by intentionally reshaping the instrument's pitch relationships for compositional purposes.[137][138] The practice gained prominence in the Baroque era, particularly through composers who exploited scordatura to expand expressive possibilities. Heinrich Ignaz Franz von Biber, a key figure, incorporated it extensively in his Rosary Sonatas (c. 1676), where the violin is retuned for each of the 15 sonatas plus a passacaglia; for instance, one movement employs a tuning of A-E-A-E to emphasize natural harmonics and symbolic resonance tied to musical representation of the Rosary mysteries. Other Baroque composers, such as Heinrich Schmelzer, further developed scordatura to evoke dramatic or programmatic effects, marking it as a virtuoso tool in 17th- and 18th-century chamber music.[139][138][137] Retuning techniques for scordatura require precise control to manage string tension and avoid damage. Adjustments are made via tuning pegs at the headstock, turned slowly and steadily with gentle inward pressure to maintain friction and prevent slippage, or through fine tuners at the tailpiece for smaller increments. Players must monitor overall tension, as raising strings increases stress—potentially leading to breakage if exceeding material limits—while lowering reduces it but can cause buzzing against the fingerboard. A general approach starts from the instrument's middle strings (e.g., the D string on violin) to preserve balance, proceeding outward to the extremes, with each adjustment checked by plucking or bowing against a reliable tuner.[140][141][142] In contemporary music, scordatura persists across genres, adapting Baroque principles to modern contexts. Electric guitarists in heavy styles detune strings for denser, lower timbres, as in scordatura-inspired configurations that alter standard E-A-D-G-B-E to facilitate extended-range playing and harmonic overtones. For cello, living composers employ it to shift tonal colors, such as lowering the C string for darker resonances in solo or ensemble works, enhancing extended techniques like sul ponticello or harmonics. These applications often integrate with amplification or effects, broadening scordatura's role beyond acoustics.[143][144][145] Risks associated with scordatura include intonation drift, where altered tensions cause pitches to deviate along the neck due to uneven string stretch or bridge displacement, necessitating recalibration. Extreme retunings can also demand luthier interventions, such as nut or saddle adjustments to realign action and prevent structural strain on the body or neck from imbalanced forces. Humidity fluctuations exacerbate these issues, potentially warping the instrument if not monitored.[146][147] For safe retuning, follow this general step-by-step guide applicable to most fretted or fretless stringed instruments:- Prepare the instrument: Loosen all strings slightly if transitioning from standard tuning, and use a clip-on or electronic tuner for reference pitches. Ensure the environment is stable (around 45-55% humidity) to minimize post-adjustment shifts.[141][146]
- Start with central strings: Tune the middle string(s) first (e.g., G and D on guitar or viola) to the target pitches, turning pegs in small quarter-turn increments clockwise to raise or counterclockwise to lower, checking tone after each adjustment.[140]
- Proceed outward: Adjust adjacent strings (e.g., low E/A then high B/E), alternating sides to balance tension evenly and avoid twisting the neck. Pluck or bow each string at the open position and a midpoint (e.g., 12th fret harmonic) to verify stability.[141]
- Fine-tune and settle: Use fine tuners for micro-adjustments, then play scales or intervals across the range to detect wolf tones or drifts. Allow 10-15 minutes for strings to settle, retuning as needed, and monitor for the next 24 hours.[148]
- Check intonation and consult if necessary: Compare open strings to fretted notes (e.g., 12th fret); if discrepancies exceed 5-10 cents, seek luthier setup. Avoid rapid or solo-string changes to prevent uneven stress.[146][149]
Microtonal and Just Intonation Applications
Microtonal tunings on stringed instruments extend beyond the standard 12-tone equal temperament by dividing the octave into finer intervals, enabling more precise approximations of harmonic series partials and novel tonal colors. The 31-tone equal temperament, for instance, spaces 31 frets evenly across the octave, allowing guitars to produce intervals like neutral thirds and harmonic sevenths that closely match just intonation ratios from the harmonic series up to the 11th partial.[150] Custom necks for electric or acoustic guitars feature these adjusted frets, often milled precisely to facilitate playing in all 31 major or minor keys while maintaining chordal harmony that blends major and minor qualities.[151] Fretless designs or movable frets further support microtonal exploration on instruments like the guitar or saz, where players adjust positions by ear to access quarter-tones or other divisions. The Bohlen-Pierce scale, an experimental 13-step equal temperament spanning a tritave (3:1 ratio) rather than an octave, has been adapted to stringed contexts through fret adjustments approximating its intervals in 19-tone equal temperament, offering dissonant yet resonant timbres distinct from Western scales.[152] Just intonation applications on stringed instruments prioritize pure frequency ratios derived from small integers, such as 3:2 for the perfect fifth or 5:4 for the major third, to achieve consonant harmonies without the compromises of tempered systems. In folk fiddling traditions, players often tune and intonate by ear to these ratios, adjusting open strings and finger positions for pure intervals that enhance resonance in modal tunes and double stops.[153] The septimal comma, with a ratio of 64:63, arises in 7-limit just intonation as a small interval (approximately 27.3 cents) between certain septimal and 5-limit approximations, influencing tunings that incorporate the 7th partial for richer overtones.[154] A prominent example is the septimal seventh (7:4 ratio), which yields a harmonic seventh at about 968.8 cents, providing a stable, resonant resolution in chords like the dominant seventh, as heard in barbershop-style harmonies adapted to fiddles or guitars.[155] Influential instruments exemplify these approaches: Harry Partch's Adapted Guitar series, developed in the 1930s–1950s, modifies standard guitars with high frets or fretless boards marked for his 43-tone just intonation scale, using 10 strings tuned in otonal (upward) or utonal (downward) configurations based on ratios like 16:9 or 4:3 to explore monophonic and polyphonic microtonal music.[29] Similarly, the Bosnian saz (a variant of the Turkish bağlama) employs microtonal tunings with movable nylon frets to realize maqam modes, incorporating quarter-tones and neutral intervals for expressive sevdah folk styles.[156] To quantify these intervals, musicians use the cent formula , where is the frequency ratio, converting logarithmic pitch differences into a 1200-cent octave scale for precise comparisons.[157] For the 7:4 septimal seventh, this yields , highlighting its flatness relative to the equal-tempered minor seventh (1000 cents) and underscoring its purity in just intonation contexts.[155] Challenges in implementing non-standard tunings include maintaining consistency across strings and ensembles, as traditional ear-tuning varies by performer, and commercial devices default to equal temperament. Electronic aids, such as custom apps analyzing reference recordings for microtonal bins (e.g., 159 per octave), assist by generating synthetic tones and real-time feedback, preserving authentic intervals in practice and performance.[158]Tuning Resources and Charts
Zither Tuning Chart
The standard Alpine zither, often configured as a concert model, features a tuning layout that organizes strings into distinct sections for melody, accompaniment, bass, and contrabass, typically represented in diagrams with melody strings aligned vertically on the left (over the fretted fingerboard) and chord-related sections (accompaniment, bass, and contrabass) arranged horizontally to the right for easy reference.[103] This Munich tuning, the most common variant, uses a circle-of-fifths progression for the open strings, starting from E♭ and proceeding chromatically, with the melody strings tuned in fifths akin to violin tuning.[159] Frequencies are based on A4 = 440 Hz, though diagrams often prioritize note names and octaves for practicality.[103] The following table illustrates a representative Munich tuning chart for a 35-string concert zither, showing string numbers, sections, notes, and approximate octaves; unison groups appear in the bass section (tuned an octave below the accompaniment for harmonic reinforcement), while the full span covers roughly 4 octaves from the lowest contrabass C2 (about 65 Hz) to the highest fretted melody note around A5 (about 880 Hz).[101]| String Numbers | Section | Notes (Octaves) |
|---|---|---|
| 1–2 | Melody (fretted) | A4, A4 |
| 3 | Melody (fretted) | D4 |
| 4 | Melody (fretted) | G3 |
| 5 | Melody (fretted) | C3 |
| 6–17 | Accompaniment (unfretted) | E♭4, B♭3, F4, C4, G3, D4, A3, E4, B3, F♯3, C♯4, G♯3 |
| 18–29 | Bass (unfretted, unison/octave to accompaniment) | E♭3, B♭2, F3, C3, G2, D3, A2, E3, B2, F♯2, C♯3, G♯2 |
| 30–35 | Contrabass (unfretted) | F2, E2, E♭2, D2, C♯2, C2 |
Comparative Tuning Diagrams
Comparative tuning diagrams provide visual and tabular summaries that highlight structural and intervallic differences across stringed instrument families, facilitating quick analysis for musicians, luthiers, and educators. These representations emphasize how tuning schemes adapt to playing techniques, such as fretted precision in Western plucked instruments versus continuous intonation in bowed ones, and scale-specific placements in East Asian zithers. By juxtaposing examples like the guitar's near-fourth-based layout, the violin's uniform fifths, and the koto's pentatonic repetitions, diagrams reveal ergonomic and harmonic trade-offs without delving into individual instrument histories.Interval Comparison Table
The following table compares the standard tuning intervals for a six-string guitar, four-string violin, and representative 13-string koto in hirajōshi mode, focusing on consecutive string intervals from lowest to highest pitch. Guitar tuning employs mostly perfect fourths with one major third for chordal facility, violin uses perfect fifths for melodic range, and koto follows a pentatonic pattern with minor seconds and major thirds for scalar repetition.[161][162][163]| Instrument | Strings (Low to High) | Intervals Between Consecutive Strings |
|---|---|---|
| Guitar (Standard EADGBE) | E2, A2, D3, G3, B3, E4 | P4, P4, P4, M3, P4 |
| Violin (Standard GDAE) | G3, D4, A4, E5 | P5, P5, P5 |
| Koto (Hirajōshi in D) | D2, Eb2, G2, A2, Bb2, D3, Eb3, G3, A3, Bb3, D4, Eb4, G4 | m2, M3, M2, m2, M3, m2, M3, M2, m2, M3, m2, M3 |


