First, let me say we build long-neck Tenors.
The beach boy sent me an e-mail on this one, so I know he’s looking for a reentrant tuning. I think that’s fortunate. As I mentioned before, a good design puts together body volume, scale and strings, and there is no compelling reason to go to a longer scale if you want to play a linear tuning.
On the other hand, for a reentrant tuning, if you are looking for the best possible sound out of a Tenor size body, a longer scale gives a definite advantage. A typical Tenor body resonates at about G#. This means that a linear C tuning (g c' e a), is less than ideal (one reason so many have problems getting a good sound out of that low G note), but a reentrant C, (g' c e' a') with C as the low note, does not come near to accessing the full depth of the Tenor body.
Ideally, you would want to come as close to G# as possible without crossing the line. Key of A would be ideal (e’ a c#’ f#’) – the A note accesses the deeper part of the Tenor body and gives this tuning a rich, full sound. Look at the circle of fifths, and you’ll see this key is also a great tuning for guitar accompaniment.
One step up, however, is the key of B flat (f b flat d’ g’). This still gets deeper than C tuning, and is a popular tuning because so many jazz songs were written in this key (b flat, because of the reeds, is the favorite of jazz composers). Play in the key a tune was written in, and you’ll find it is generally both easier to play, and sounds better as well.
What, then, is the relationship between these lower tunings and longer scales? Simply this: as the scale (distance between nut and saddle) increases, three things can happen. 1) If you keep the same strings and tuning then tension will go up. 2) If you keep the same tuning and use thinner strings you can keep the tension the same as with the shorter scale. 3) You can keep the same strings and lower the tuning to keep tension the same as with the shorter scale.
The first two options make little sense to me. With the first option, bear in mind that Tenors are typically at high tension to begin with. As noted, reentrant C tuning is really not deep enough for this body size, so high tension is typically used in an attempt to increase volume. Increase tension even more with the longer scale and you start to get into the realm where not only does playing start to become (even more) uncomfortable, but excessive pull on the soundboard can often begin to reduce volume – in other words, it’s counterproductive.
The second option makes little sense as well. As noted, reentrant C tuning is high for a Tenor body, so maintaining the tuning and going to thinner strings will weaken the sound even more.
This leaves us with option *3. This is why we build long scale Tenors (as our only Tenor). With what I like to call “short-neck Tenors”, to get to the deeper reentrant tunings, you have to start using heavier, and often less responsive strings. With the long scale, you use the same strings you would use on a short-neck, and just drop the tuning. Your instrument is fuller, richer, and you haven’t gone to heavier strings to get there.
With our 20” scale, key of A or B flat are good options. With the 18 & 19” scales of the King and Kamaka, A tuning would still be possible if you like a light tension and the instrument is built for it, but most Tenors are built for relatively high tension and B flat will probably work best.
We have one member here who has said about long scale Sopranos “this is how God intended the Soprano to be”. I feel the same way about long-scale Tenors. I’m not alone in this. Victoria Vox played a B flat tuning on a standard Tenor for a good while until the “C Police” chased her back into the herd. You can still get her first songbook in B flat. We have another member here – fellow named Rick Turner – who has opined on more than one occasion as to how he wants a longer scaled “B Flat Tenor” (just for himself). I think he should find himself a good luthier and get one built (heh! heh!).
To sum up a long story, you few, you proud, you brave long-scale Tenor owners have truly remarkable instruments. Not only can you get a better sound out of this configuration than out of a standard Tenor, you have more room on the fretboard. It is the penultimate reentrant ukulele jazz instrument. The key to their potential should be to use whatever Tenor strings you like (with us our Mediums are the most popular), and tune down to (w/ 18-19” scales) B flat.
