The Bandolin tuning, as used on a Laúd, is a fascinating and unique configuration tailored for the 15-string Ecuadorian mandolin-like instrument. This particular tuning presents a distinctive melodic and harmonic landscape, deviating significantly from standard guitar or mandolin tunings.

Verbal Analysis

At first glance, the Bandolin tuning offers a bright yet resonant character. The lower three strings (E3, A3, D4) provide a stable, familiar foundation, tuned in perfect fourths, similar to the bass strings of a standard guitar. This creates a full, ringing quality in the lower register. However, the upper two strings introduce a surprising shift: String 2 is tuned significantly higher to F#5, creating a very open, almost shimmering high register, while String 1 drops down to B4, which is lower than String 2. This non-monotonic pitch arrangement is characteristic of specialized folk instruments, suggesting a design for specific melodic patterns, drone harmonies, or unique chord voicings rather than traditional linear scales.

The open strings together (E, A, D, B, F#) don't form a simple major or minor triad. Instead, they lean towards an E Dorian or E minor 7th (add 9, add 4) tonality. This gives the open tuning a sophisticated, somewhat wistful or modal sound, rich with possibilities for expressive playing without needing complex fingerings. Open chords are likely to feel expansive and atmospheric, particularly around the E minor family.

Technical Analysis

The tuning consists of the following notes from thickest (String 5) to thinnest (String 1):

• String 5: E3
• String 4: A3
• String 3: D4
• String 2: F#5
• String 1: B4

Analyzing the intervals between adjacent strings:

• String 5 (E3) to String 4 (A3): Perfect 4th (5 semitones)
• String 4 (A3) to String 3 (D4): Perfect 4th (5 semitones)
• String 3 (D4) to String 2 (F#5): Major 10th (16 semitones) - a very wide interval, spanning more than an octave and a major third.
• String 2 (F#5) to String 1 (B4): Perfect 4th DOWN (7 semitones down from F#5) - This is a striking feature, with the physically thinner String 1 tuned lower than String 2, indicating a deliberate design choice for harmonic depth or specific voicings.

The overall pitch range from E3 (lowest) to F#5 (highest) spans 26 semitones, covering over two octaves. The presence of E, B, D, F# in the open tuning strongly hints at an E minor 7th chord with an added 9th (F#), while the A provides a 4th. This rich harmonic cluster, lacking a definitive 3rd (G or G#), offers versatility for both minor and modal compositions. The string arrangement suggests that chord voicings will often involve "split" voicings across the large intervals, and the non-monotonic nature of String 1 and 2 might facilitate intricate counterpoint or specific melodic phrasing common in traditional Bandolin music.

How to Tune

To achieve the Bandolin tuning for your Laúd, you will need to make significant adjustments to each string. Please proceed with caution, especially when tuning strings up by several semitones, as this can increase string tension considerably. For movements exceeding 4 semitones up or down, considering a different string gauge is generally advised to ensure optimal tension and prevent string breakage, though for a specialized instrument like the Bandolin, its default strings are likely designed for these specific pitches.

• String 5: Tune up 7 semitones to E3.
• String 4: Tune up 7 semitones to A3.
• String 3: Tune up 7 semitones to D4.
• String 2: Tune up 7 semitones to F#5.
• String 1: Tune up 7 semitones to B4.

Ensure your tuning machine is accurate and always double-check the target note to avoid over-tensioning. The large movements suggest tuning from a significantly lower base, or using strings specifically designed for these high tensions if coming from a standard guitar tuning.

The open notes for the Bandolin tuning are as follows, from the thickest (String 5) to the thinnest (String 1):

• String 5: E3
• String 4: A3
• String 3: D4
• String 2: F#5
• String 1: B4