These are alternate guitar tunings that are used in Peruvian and other South American Guitar traditions. The open and dropped tunings are the more commonly used alternate tunings.
The same tunings under numerous different names can be found in Peru, Argentina, Africa, Asia and the South Pacific. For example D / A / D / F# / B / E the D 6/9 tuning, it is known as Rondeñas in Flamenco and used in the Amazonian region of Peru. It is also known as D Ni`ihau / Old Mauna Loa tuning in Hawaiian Slack Key Guitar.
Peruvian guitar tunings are named classified according to genre. This also manifests in a regional manner. For example the tunings used in Cajamarca are in open major chords, for example in E or A major. Where as a raised tuning such as the D Minor tuning is favoured in the Huayno repertoire.
Note: Should you attempt a tuning whose notes maybe a semitone or tone above the Huayno tuning F / A / D / G / B / E. I would recommend the lightest string gauge set available for nylon string guitars. These tunings can be used on acoustic steel string and electric guitars with appropriate gauges.
Note: The “X” denotes removed strings. Mi Composé tuning as used for Rumba and Soukous in Congo DRC, differs from the standard tuning. In which only the D string has been replaced with the bottom E string to raise the D to an entire octave.
The “Lazy D Tuning” E A D G B D as we know it in North America; is used in the genre of Maskandi music.
Citations:Bibliography: Theory of African Music Volume II by Gerhard Kubik – Chapter IX Genealogy of a Malawian Musician Family pp. 247 ISBN-13: 978-0-226-45694-2 ISBN-10: 0-225-45694-3 ; Garland Encyclopedia Book Africa [book & audio cd] ; Africa & The Blues by Gerhard Kubik ; Some Characteristics Of The Blues Page 83 ; University Press of Mississippi ; ISBN 978-1-57807-146-4 ;
It is a system of musical instrument classification devised by Erich Moritz von Hornbostel and Curt Sachs and first published in the Zeitschrift für Ethnologie in 1914. An English translation was published in the Galpin Society Journal in 1961.
It is the most widely used system for classifying musical instruments by ethnomusicologists and organologists; people who study musical instruments. The system was updated in 2011 as part of the work of the Musical Instrument Museums Online [MIMO] Project.
Authors note: My website utilizes a simplified version of the “Hornbostel Sachs System” omitting technical and vague sounding terms and keeping it close to plain language for search and ease of navigation throughout this site.