The viola d'amore was normally tuned specifically for the piece it was to play-cf . scordatura.
12.
Since all the chords must be formed using adjacent strings, scordatura tunings are the rule rather than the exception.
13.
*A "'scordatura "'is s retuning that does not require changing stringing or setup.
14.
However, non-standard tunings ( called scordatura ) exist to change the sound of the instrument or create other playing options.
15.
Guitarists tend to use only two basic inversions or " chord shapes " for the tonalities, chord positions and " scordatura ".
16.
Through the progression of the sonatas, the difficulty of the scordatura tuning rises and falls, with the peak of difficulty located in the Sorrowful Mysteries.
17.
Scordatura for the violin was also used in the 19th and 20th centuries in works by Niccol?Paganini, Robert Schumann, Camille Saint-Sa�ns and B�la Bart�k.
18.
The viola d'amore used a great number of different tunings and writing music for it in scordatura notation was a natural choice for composers of the time.
19.
Biber uses scordatura primarily to manipulate the violin's tone color, while the creation of otherwise impossible chords and textures are a welcomed, but secondary opportunity.
20.
In scordatura, one imagines that one is playing a violin ( or in some cases a viola, where alto clef is used ) tuned in the normal fifths.
