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 ;
Citations:Bibliography: Guitar Style, Open Tunings, and Stringband Music in Papua New Guinea by ~ Denis Crowdy ; Apwithirer: Studies in Papua New Guinea Musics, 9 ; Three: Analysis – Samoan Ki and the Hood Lagoon Area Page 46, Page 60 ; ISBN 9980-68-048-2 [book] Websites ; George Winston [georgewinston.com – Slack Key Information Booklet ; Section III ] ;
The alternate guitar tunings as represented on this page from the Samoan slack key tradition of Igi Le.
1.) Standard Tuning E / A / D / G / B / E called “Ki Sepaniolo” meaning “Spanish Tuning” or “Standard Tuning” and is mainly played in the key of C.
2.) Open G Major tuning D / G / D / G / B / D in Hawaiian slack key it is called the Tarro Patch tuning. In Samoa it is called “Ki Tu Fa” which probably means “Fourth Position Key”.
3.) A variation of the G Major Tuning G / F / D / G / B / D called “Sui Ki A Le Ki Tu Fa” meaning “Slack Key of the Open G” – and “sui” means “change” or “weaken”, which could also be taken to mean “slack”.
4.) D Wahine Tuning D / A / D / F# / A / C# sometimes called “Ki Salamo” and also “Repentance Tuning”. This tuning was likely introduced originally from Hawaiian Slack Key.
5.) The Sui Ki Maualuga or High Slack Key tuning in Hawaiian Slack Key is C / G / C / G / A / E as used by Leonard Kwan. Also the Hawaiian Slack Key guitarist Sonny Chillingworth used a C Mauna Loa Tuning that he called the Samoan Mauna Loa Tuning F / G / C / G / C / E – on the Samoan song “Let Me Hear You Whisper” on his
recording Sonny Solo. Note the tunings are similar to one another.
6.) There is an undocumented tuning called “Ki Tu Lua” or the “Second Position Key”. It is speculated that this tuning could be the F Wahine tuning C / F / C / G / C / E for reference the Hawaiian Slack Key guitarist Sonny Chillingworth occasionally played in a C major tuning that he called the “Samoan C major tuning F / G / C / G / C / E.