Tuning a Bouzouki is more than a technical chore – it shapes the instrument’s voice. On Greek Bouzoukis, the standard tunings emphasise bright, shimmering melodies with octave pairs on the bass strings, while Irish players adopted open tunings and unison pairs to support drone‑laden folk accompaniment. Understanding how the courses are laid out and which tunings suit each tradition will help you get the most from your instrument. This article explains the difference between Greek and Irish bouzouki tunings, offers step‑by‑step tuning advice and highlights the historical reasons behind each approach.
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Understanding courses and strings
A bouzouki’s strings are organised into courses, meaning that two strings sit very close together and are tuned either to the same pitch or an octave apart. Trichordo bouzoukis have three courses (six strings), while tetrachordo bouzoukis and Irish bouzoukis have four courses (eight strings). Greek players typically tune the lower courses in octaves and the upper courses in unison. In contrast, Irish bouzoukis often use unison pairs on all four courses to create a solid, balanced chord when strummed. When holding the instrument in playing position, the course nearest the floor carries the highest notes; the lowest course is closest to your chin and is tuned to the bass note.
Before you begin, identify which type of bouzouki you own. Greek bouzoukis have a bowl‑back similar to an Italian mandolin and a long scale length, whereas Irish models have a flat back and a slightly shorter neck. Counting the courses will tell you whether you have a three‑course trichordo or a four‑course instrument. Knowing this matters because the tunings differ between the models.
Greek bouzouki tunings
3‑Course Trichordo Tuning (DAD)
The trichordo is the oldest form of the bouzouki. It has three pairs of strings. From low to high, a trichordo is tuned D3/D4 – A3/A3 – D4/D4. The lowest course uses octave strings: one thick string tuned to D3 and one thin string tuned to D4. Because Greek players usually strike the strings with a downward pick stroke, the thick string sits above the thin one so that the lower pitch sounds first. The middle and top courses are tuned in unison to A3 and D4, respectively. This D–A–D pattern produces an open chord that underpins the modal melodies of rebetiko and other Greek folk music.
To tune a trichordo:
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Tune the lowest course first. Use a chromatic tuner or pitch reference to tune the thicker string to D3, then tune the thinner string an octave higher to D4.
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Move to the middle course. Tune both strings to A3 in unison, ensuring each pitch is the same.
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Finish with the top course. Tune both strings to D4 in unison.
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Check the open chord. Strum all courses to make sure they form a clear D chord. Make small adjustments if necessary.
4‑Course Tetrachordo Tuning (CFAD)
The tetrachordo became standard in Greek popular music during the mid‑20th century. It has four pairs of strings. The most common tuning is C F A D from low to high, one whole tone lower than the top four strings of a guitar. In this tuning, the courses are tuned C3/C4 – F3/F4 – A3/A3 – D4/D4. The two lowest courses (C and F) use octave strings, while the A and D courses are in unison. The layout of fourths and a major third mirrors the guitar, making it easier for guitarists to adapt chord shapes to the bouzouki.
An alternate Greek tuning is A D A D, which lowers the bottom course and produces a slightly darker sound. Some modern players also use D G B E because it matches the top four strings of a guitar. Regardless of the pattern, follow these tuning steps:
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Identify your tuning. Decide whether you will use CFAD, ADAD or another pattern. Ensure your string gauges match the tension for that tuning.
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Start with the lowest course. Tune the thicker string to the lower pitch (e.g., C3) and the thinner string an octave higher (C4). Repeat on the F course if you are using Octave.
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Tune the upper courses in unison. Tune both A strings to A3 and both D strings to D4.
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Check intervals. Strum chords and play scales to hear whether the strings blend. Adjust as needed.
Irish Bouzouki Tunings
The Irish Bouzouki emerged in the 1960s when folk musicians adapted the Greek instrument for Irish traditional music. Johnny Moynihan and Andy Irvine first tuned a Greek tetrachordo bouzouki to GDAD in 1968, creating a new, open tuning ideal for drones and modal accompaniments. Luthier Peter Abnett later built a flat‑backed model for Dónal Lunny, who removed the octave strings from the lower courses to produce a stronger bass sound. Irish bouzoukis, therefore, tend to have unison pairs on all four courses.
Standard Irish Tuning (GDAD)
The most widely used Irish Bouzouki tuning is G D A D. Tuned from low to high, the courses are G2/G2 – D3/D3 – A3/A3 – D4/D4, all in unison. This tuning forms a suspended chord when strummed open, allowing the player to create droning accompaniments that suit jigs and reels. In some setups, the lower courses may use octave pairs (G3/G2 and D4/D3), producing a shimmering effect reminiscent of the Greek bouzouki.
Alternate Irish Tunings
Although GDAD is the dominant tuning, Irish players experiment with other patterns. ADAD lowers the lowest course by a whole tone and yields a resonant open D chord, similar to the Greek ADAD tuning. GDAE matches the pitch of a violin or mandolin and appeals to melody players because it places familiar fingerings under the fingers. On short‑scale bouzoukis, tuning GDAE may reduce tension and make melody playing more comfortable. In this tuning the courses ascend by fifths: G2/G2 – D3/D3 – A3/A3 – E4/E4. Some players also use DADGAD, a variant borrowed from guitar, or mix unison and octave pairs to personalise the tone.
To tune an Irish bouzouki:
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Choose your tuning. Decide whether you will use GDAD, ADAD, GDAE or another configuration. Consider the string gauges and scale length of your instrument when selecting a tuning.
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Work from the bass upward. Tune the lowest course in unison to G2 (or A2 if using ADAD) or to G2/G3 if you prefer an octave pair.
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Tune the middle courses. Tune both strings of the D course to D3 and both strings of the A course to A3.
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Set the top course. In GDAD and ADAD tunings, tune both strings to D4. For GDAE, tune the top course to E4.
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Check chords and drones. Strum the open strings and listen for a balanced, ringing chord. Adjust the pitch of any course that sounds sharp or flat relative to the others.
Practical Tuning Tips
Regardless of whether you play Greek or Irish music, some universal tuning practices will help you achieve a stable, musical sound.
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Use a reliable reference. A clip‑on chromatic tuner makes it easy to hit the correct pitch. If tuning by ear, play the reference note on a tuning fork, piano or another tuned instrument and match the bouzouki string to it. Always tune the thicker string first, then match the thinner string to the same pitch or the appropriate octave.
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Tune one course at a time. Work from the lowest course up, tuning both strings in each course before moving to the next. On instruments with octave pairs, make sure you differentiate between the thick and thin strings so they are tuned an octave apart.
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Check intervals by ear. After the instrument is roughly in tune, strum across the courses and play scales. Listen for beats or dissonance between the strings and adjust accordingly. Octave strings should produce a rich, beating sound when tuned correctly.
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Use appropriate strings. Because Greek tunings often employ octave pairs on the lower courses, the thick string should have a larger gauge than the thin string. For Irish tunings with unison pairs, many players choose lighter gauges for easier playability. Always match the string set to the chosen tuning to avoid undue tension on the neck.
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Retune regularly. New strings stretch, and changes in temperature or humidity can cause strings to drift out of tune. Check your tuning every time you pick up the instrument. Keeping the bouzouki in a protective case will help maintain stability.
Conclusion and Next Steps
Tuning a bouzouki is the first step towards unlocking its expressive potential. Greek tunings such as DAD for the trichordo and CFAD or ADAD for the tetrachordo emphasise octave pairs and a bright, ringing tone. Irish musicians, on the other hand, embraced GDAD, ADAD and GDAE tunings to support modal harmonies and melodies. By understanding which type of bouzouki you have and following a systematic approach to tuning, you can achieve the resonant sound associated with each tradition.
Ready to explore the world of bouzoukis? Browse our Greek Bouzouki instruments or discover the Irish Bouzouki range. If you’re looking for more traditional stringed instruments, head back to the Muzikkon home page for inspiration. With the right tuning and a little practice, your bouzouki can become the heart of your musical journey.