Oud later), tuned in successive fourths. Curt Sachs said they were called (from lowest to highest pitch) "bamm", "maṭlaṭ", "maṭnā" and "zīr". "As early as the ninth century" a fifth string "ḥād" ("sharp") was sometimes added "to make the range of two octaves complete". It was highest in pitch, placed lowest in its positioning in relation to other strings. Modern tuning preserves the ancient succession of fourths, with adjunctions (lowest or highest courses) which may be tuned differently following regional or personal preferences. Sachs gives one tuning for this arrangement of five pairs of strings, d, e, a, d', g'. Historical
Cretan lyra plates was reported in 2006. The old model of the Cretan lyra (also called "lyraki" ~ small lyra), is tuned 5-1-4. That is, the middle string is the lowest in pitch and the others are a 4th and a 5th above it. The performer plays the melody on the 1st and 3rd string, using the 2nd string as a drone (Magrini 1997), similarly to the Byzantine lyras from ca. 1190 AD, found in the excavations of Novgorod (Anthony Baines, 1992). The contemporary lyra modelled after Stagakis' design is tuned in fifths to (d-a-e'), and like the violin, it uses no