Skip to content

Cuban Tres

Basics

The Cuban Tres, sometimes just called tres, is a six string instrument tuned in pairs. It is treated as a three string instrument—hence the name. The lowest string (G) is also the highest string. This is not always the case. An alternative set up gives the E and G string a lower octave—the C remains a unison. My instrument is currently in the former configuration. Any pair of strings tuned as an octave have more presence. Use this quirk as a way to create compound melodies as shown in my piece Disquiet (2025).

Open Strings

My LilyPond Example

Right Hand Technique

The tres is played with a pick. The only time it is played with the fingers is in the presence of two or three simultaneous notes. Given that it is played with the pick, its right hand technique is similar to that of a mandolin. In folk and popular music the pick is played with mostly down strokes. This yields a loud and brilliant sound—great for outdoor settings and informal jams. In a classical or amplified context this does not have to be the case. Alternating down and up strokes can be employed without an issue. In my opinion, it is faster and more expressive. Mixed strokes are also quicker than downstrokes. Downstrokes work best for fortes and accented notes; mixed strokes are best for piano and legato passages.

Composers for this instrument should keep these nuanced picking strokes in mind while writing:

  • If a fast scalar passage is written, it is likely that it will be played with mixed strokes.

  • If a passage is marked fortissimo and is not too quick, downstrokes may be used.

  • If a passage is in a popular or folkloric style (syncopated grooves), it is likely that it will be played with down strokes.

Strokes may be notated, but it is not necessary.

Down Strokes

My LilyPond Example

Mixed Strokes

My LilyPond Example

Mixed Strokes Within Triplets

My LilyPond Example

Range

It is notated an octave higher than its sounding pitch. The higher end of the range can make certain chords tricky to play. Scalar passages respond well in any part of the range.

My LilyPond Example

Voicings

For chords, whether they be played simultaneously or as an arpeggio, should remain in closed voicing as shown below. This is what is idiomatic for the instrument. Open voicings are possible, usually when using open strings. Dissonances created by closed voicings bring out a special and beautiful sonority. Minor, diminished, augmented, and other trichords work well—as long as they are in a closed voicing.

Triad

My LilyPond Example

Extensions

My LilyPond Example

Suspended Chords

My LilyPond Example

Special Effects

Natural Harmonics

Natural harmonics are not loud. They are played forte and sound piano. When noting, it is best to illustrate what string the note falls on as shown below. Artificial harmonics may be possible, but are impractical.

My LilyPond Example

Tremolo

Tremolo is a great effect and should be notated as shown below. My LilyPond Example

Muted Notes

Muted Notes is another great effect. It is achieved by gently muffling the strings with the right hand while allowing the note to resonate. The result is a dull and quiet pluck. To me it sounds like a buff stop on a harpsichord.

My LilyPond Example

Documentaries

Short Documentary with Pancho Amat

This video is a good introduction to the authentic sound of the instrument. Pancho Amat goes over its open string configuration, the formation of a basic tumbao, and an improvization.

Short Documentary with Efraín Amador

This video is a great overview of the history of the instrument. It is in Spanish, so I recommend using translated captions. Efraín Amador theorizes over the possible origins of the instrument and its history.

Classical Repertoire

Composition and Performance by Efraín Amador

Efraín Amador's beautiful solo work in C major. Recorded as part of his Son Para Un Amigo album. One of the first classical compositions I learned on the instrument. This piece inspired my on going commissioning project.

Composition by Isaac Santos and Performance by Rolando J. Gómez

This score video provides a great visual of how to write for the instrument. Isaac Santos reimagines the baroque gigue for the Cuban tres and also makes use of scordatura by lowering the E string down to E-flat.

Composition and Performance by Rolando J. Gómez

This large scale work features a wide array of colors and techniques. This was the first solo work I wrote for myself as a performer. For more information and access to a score click here.