c’ e’ g’ c” ; d’ f#’ a’ d” ; a c#’ e’ a’ ; b d#’ f#’ b’

A few baroque pieces make use of these tuning. Heinrich Ignaz Franz Biber‘s Rosary Sonata no. 12 “The Ascension” (1674 – 1676) is in c’ e’ g’ c”. Wolfgang Carl Briegel (1626 – 1712) uses both c’ e’ g’ c” and d’ f#’ a’ d” to accompany the voice in Tibi sacrisicabo… , Auff!!Meine Sel… , Ruhe des Gemüths and Wie selig ist der hole Geist… .

Anders Öhrman (1733? – 1794) composed a violin sonata in a c#’ e’ a’.

One tune using d’ f#’ a’ d” is included in the Swedish folk music collection Svenska Låtar. Swedish fiddle player Joen Böhlén wrote two tunes in the tuning b d#’ f#’ b’, Favoritpolskan and På fäbodstigen. 

A performance of Favoritpolskan: 

Irish fiddle player Seamus Connolly tells in an interview published on http://www.arts.gov how he initially taught himself to play the fiddle in this tuning, before learning it was supposed to be tuned by fifths.