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All violin alternate tunings may be adapted for the mandolin Standard instrument of the mandolin family. Mandolinetto: 8 strings 4 courses. G 3 G 3 •D 4 D 4 •A 4 A 4 •E 5 E 5: USA and Canada A guitar-shaped mandolin, or mandolin neck on ukulele body. Mandolin, Octave: 8 strings 4 courses. Standard/common: G 2 G 2 •D 3 D 3 •A 3 A 3 ...
Also, if you did do a table, I'd be careful about not re-inventing the wheel unnecessarily. There is, for example, already an extensive table of Stringed Instrument Tunings, which includes number of strings, stringing arrangements, alternate names, standard and alternate tunings, country of origin, an illustration, and notes.
A hammered dulcimer, like an autoharp, harp, or piano, requires a tuning wrench for tuning, since the dulcimer's strings are wound around tuning pins with square heads. (Ordinarily, 5 mm "zither pins" are used, similar to, but smaller in diameter than piano tuning pins, which come in various sizes ranging upwards from "1/0" or 7 mm.)
Dulcimer players, however, are accustomed to naming their strings from lowest to highest (as would a guitarist or violinist). which means that the strings are usually named reverse order from which they appear on the instrument, i.e., right to left. Thus the tunings cited above would more commonly be given as: C3-G3-G3; C3-G3-C4; and C3-F3-C4.
Cross tuning or cross-tuning (aka scordatura) is an alternative tuning used for the open strings of a string instrument.The term refers to the practice of retuning the strings; it also refers to the various tunings commonly used, or in some contexts it may refer to the AEAE fiddle tuning.
A tuning is a sequence of pitches to which the strings are tuned. A stringing is a set of string gauges (and very occasionally other string parameters) that support one or more tunings. Just as many stringings support more than one tuning, so for many tunings there is more than one common stringing.
As a music educator, Massengill is famed for presenting his "Taking the Dull out of Dulcimer" workshops at festivals and music gatherings around North America, and is one of the instrument's prime proponents in the field of melding traditional and contemporary music styles (including alternate tunings); and is a mentor to many in the dulcimer ...
With regard to your comments on the Modes and Tunings section, Ralph Lee Smith (no relation) writes in "Appalachian Dulcimer Traditions" (The Scarecrow Press, 2002) that dulcimers were not typically played with other instruments, so the absolute pitch of the notes was not critical, only the relationship between them.
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