accord luths, guitares, etc

8/20/2019 Accord Luths, Guitares, Etc

http://slidepdf.com/reader/full/accord-luths-guitares-etc 1/10

TABLEAU CHRONOLOGIQUETABLEAU CHRONOLOGIQUETABLEAU CHRONOLOGIQUETABLEAU CHRONOLOGIQUE XVIème - XVIIIème siècle

Guitares, Luths, Vihuela , Archiluth et Théorbe

1



2



d'autres avec des cordes supplémentaires dans le grave,

destinées à recevoir les notes altérées.

Ces instruments, comme tous ceux de ce tableau,

étaient propres au jeu soliste (compositions originales et

adaptations) au jeu d'ensemble, à l'accompagnement du

chant, aux petites comme aux grandes formations.

Quelques

publications

Kapsberger (1604 à 1640) Melii(1614,1620) Pesaro (c

1615) Castaldi (1622) Piccinini (1623) Fleury (1660)

Pittoni (1669) Bartholomi (1669) Delair (1690)

Grénerin, Lemoyne, De Visée, Hotman, sources

manuscrites.

3



TUNING:

The strings are named low to high, i.e. in the mandolin tuning given, G D A E,

the "G" is the lowest note, and the "E" is the highest. The strings are numbered

with the highest pitched being #1 and proceeding thru the lowest string, which

has the highest number....confusing, but traditional.

* Modern Instruments (standardized tunings):

Guitar Family:

Modern Guitar: E A D G B E

D A D G B D ("Double "D" " Good for modal ballads in "D")

D A D G B E ("Drop "D" ", good for stuff in "D")

D A D D A D (I use this one for simulating an Oud, for belly dance music)

D A D G A D (the popular tuning for Celtic music)

D G D G B D ("G" tuning, chorded like a 5-string banjo)

D A D F# A D ("D" tuning, played like the "G" tuning but with everything moved

over one string worth)

E B E G# B E ("E" tuning, played like the "G" tuning but with everything moved

over -two- strings worth)

"Terz" Guitar: G C F Bb D G

Requinto: G C F Bb D G

Vihuelita: C F Bb D G (the 4th string, the "F", is tuned an octave high in a

ukelele style re-entrant tuning)

Tenor Guitar: G D A E (one octave lower than a mandolin)

D G B E (1st four strings of the modern guitar)

D G B E (same as above, with the 4th string tuned an octave high, in a

re-entrant tuning)

To tune a guitar to "lute" tuning, use a Tenor Lute (see below) tuning from "E":

E A D F# B E, for "old" tuning, or just leave it as it is, for "new" tuning.

Mandolin Family:Mandolin: G D A E (same as violin)

4



Octave Mandolin: G D A E (one octave lower than a Mandolin)

Mando-Cello: C G D A (one octave lower than a Mandola)

Bouzouki: D A D A

D G B E

G D A E

D A F C

Others:

Ukelele: A D F# B (4th string, "A", in higher octave, re-entrant tuning)

Tiple: (Pronounced TEE-play) C E A D (South American version. 4th string, "C",

is octaved)

Tiple: (Pronounced TIPPLE) A D F# B (North American version. 2nd, 3rd and 4th,

"A", "D", and "F#", are octaved)

Cümbus

Standard Cümbus: D E A D G C

Cümbus can also use any Oud tuning

Older Instruments

(the tuning may or may not be these same tones, but the relationships between

the strings will remain the same):

Oud: (Turkish style) D G A D G C

Standard Egyptian/Arab: D G A D G C

Old Turkish Classical: A D E A D G

New Turkish Classical: F# B E A D G

Turkish/Armenian: E A B E A D

Turkish/Armenian Variant: C# F# B E A D

Lute: "new" tuning: 8-course E# B A D G C# E A (descant tuning: see below)

"new" tuning (Virdung ca. 1500): G C F A D G (the "viel accord")(alto)

"old" tuning: 8-course E# B A D G C# E# A (descant tuning: see below)

5



"Sharp" tuning: G C F A C E

"Flat" tuning: G C F Ab C Eb

"Accord Nouveau": A D F A D F (17th Cent.)

Praetorius mentions the following tunings for various kinds of lute (note: 1st

string only is given; string relationships remain the same):

Small octave Lute: D or C

Small descant Lute: B

Descant Lute: A

Choir or alto Lute: G

Tenor Lute: E

Bass Lute: DLarge octave bass Lute: G

Arch Lute: same as Descant Lute, with extra bass strings tuned descending

diatonically

Theorbo: F G A B C D E F G C F A D G (or the same intervals one tone higher)

Arch Mandore: C G C G C

C F C F C

Mandora: C G C G C

C F C F C

Pandurina: G D G D

Bandora: C D G C E A

G C D G C E A

Opharion: G C F A D G

(a seventh course was added to the bass after 1600; it may also be tuned like a

Lute)

Cittern: mandolin tuning: G D A E (same as Octave Mandolin)

D G B D (open "G", same as modern Plectrum banjo)

D G C D ("G Dorian mode")

five-course: G D G B D (open "G")

G D G B D (open "G", with the 5th string as a re-entrant, the same as a modern

5-string banjo)

C D G B D

6



A D G A D

A D G B E (same as Gittern)

D G D G D

A D A D A

A E A E A

D G D A E

Lafranco (1533): A C B G D E

Adrian LeRoy (1565): A G D E

Virchi (1574): D F B G D E

Cetarone (bass cittern): Eb Bb F C G D A

E B G D E

(a re-entrant tuning is also mentioned, but no intervals are given, by Agazzari

in 1607)

Guittern: A D G B E (same as modern guitar, but without the low E string)

A D G B E (re-entrant: 4th string an octave high)

4-Course Guitar: Probably similarly to the 5-Course Guitar, but without the 5th

string(s) (see below)

5-Course Guitar: ca. Mid-1500's

D D G B E (4th and 5th, "D", tuned in same octave as 1st, "E," in a re-entrant

tuning)

A D G B E (5th string one octave lower than 1st thru 4th)

A D G B E (same as first five of modern guitar)

Vihuela de Mano: G C F A D G

C F Bb A D G

C F Bb A D G (note: tune to the same sound as a ukelele, with the 4th string,

the Bb, in the next octave higher than the 5th and 3rd. This is known as a

"re-entrant" tuning and is very period.)

You may also use any standard Lute tuning.

Cytole: D G B E (re-entrant: 4th string (D) in higher octave similar to the

ukelele. I dare say you could use a tenor ukelele, or even a tenor guitar, to

stand-in for this instrument.)

Mandora: G D G D (in bass range. A mando-cello will work here quite well)

Guitarra Moresca: I suggest tuning it like a Cittern, as the descriptions of

it's sound from period Ms. would seem to indicate a "5th" relationship tuning.

Guitarra Latina: Probably tuned like a Cittern, or like a Cytole, but if you use

a Cytole tuning, tune several tones lower.

Poliphant: Eight wire-strung courses tuned like a Lute, plus about 15 diatonic

7



bass strings on a harp frame, similar to the Harp-Guitar of the early 1900's in

the USA.

Stump: Seven wire-strung courses tuned in "old" Lute tuning, plus 8 open bass

strings on a harp frame.

Remember that many of these instruments are strung in pairs of strings, with the

strings of the pair tuned an octave apart. This is usually done on the

"bourdon," or bass strings, for added clarity and volume.

On the odder relatives of the guitar, if the neck-to-bridge distance seems a

little smaller than a guitar's, measure both of them! If this "scale" is shorter

than a guitar's, it's very possible that the instrument needs to be tuned to a

higher pitch. A short-scale instrument is meant to be tuned high, otherwise the

strings will not have the correct amount of tension to adequately stress thesoundboard, and thus will rattle, twang, and have no volume whatsoever.

To find out where to tune it, put the instrument beside a known instrument of

similar design, with both bridges in line with each other. If the nut (the piece

between the fingerboard and the peghead) on the unknown instrument is below the

nut on the known instrument, then you must count the frets between the known's

nut, on it's fingerboard, and the nut on the other instrument. The tones played

on the nearest fret of the known to the other nut will work as a tuning guide

for the other instrument. This may sound complex, but try it....it works just

fine!

This does NOT apply to Lutes, however, and be VERY careful not to overstress the

soundboard or the bridge, to avoid damage to the instrument due to

over-tensioning the strings. Go carefully, and if you are using wire strings on

any instrument, use the lightest gauge possible.

8



Le luth

The Renaissance lute, which has anywhere from eight to twenty-one strings, is always

tabbed out on a grid consisting of seven strings and, generally, using the notation "a=0, b=1,

c=2". The first six strings are completely non-specific. On the other hand, the 7th string, all

on it's own, represents all of the instrument's bass strings starting with the 7th, itself.

For example, //a indicates that the 9th string (7+2//) is played open, a simple 6 indicates

that the 13th string (7+6) is played open, etc. TablEdit applies these rules as soon the

instrument has seven or more strings with the 7th string tuned to G#, A or F#.

By default, the lute tuning obtained by use of the pre-defined tunings is for a thirteen string

lute in A. In order to manage all the lute forms from seven to twenty-one strings, a specific

dialog can be opened by selecting " Instrument configuration". This dialog allows define

the number of strings adjust the tuning of strings 7 to n-1 to specify the string to be used for

the basses (entering "1" in the "Bass" field would, for example allow you to select a reversed

tuning).

Tuning

The first (highest tuned) course is tuned to g1, the 2nd to d1, the 3rd to a, the 4th to f, the 5th

to C and the 6th to G. If you play guitar, the tuning is: e1, h, f-sharp, d, A and E. (ie.: to play

lute music on your guitar, just lower the g-string to f-sharp and you're ready!)

The European lute's tuning (from bass to treble) is as follows:

DD FF GG CC FF AA DD G

the baroque lute, 11-13 courses, early seventeenth to late eighteenth century, played with the

fingers, tuned A d f a d' f', hence "D minor lute" (lower strings tuned to a diatonic scale)

9



(A, E, B, F#, C#, G#)

TOP : Solid German Spruce

SIDES & BACK : Laminated Rosewood

NECK: Cedar from Honduras *

FINGERBORAD : Ebony

MACHINE HEADS: Gold Plated

10

Alhambra

Spanish Laud

accord luths, guitares, etc

Documents