Kite Guitar chord shapes (downmajor tuning) - Revision history

Fredg999: Text replacement - "Ups and Downs Notation" to "Ups and downs notation"

2025-08-20T01:07:35Z

Text replacement - "Ups and Downs Notation" to "Ups and downs notation"

← Older revision		Revision as of 01:07, 20 August 2025
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	These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. The example chords are arbitrarily rooted on C. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret, even though C is not on the 4th fret. In these tables, the interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.		These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. The example chords are arbitrarily rooted on C. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret, even though C is not on the 4th fret. In these tables, the interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.

	Chords are named using [[Ups and ~~Downs Notation~~\|ups and down notation]], see the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.		Chords are named using [[Ups and downs notation\|ups and down notation]], see the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.

	Chord voicings are named using [[hi-lo notation]], as hi3, lo5, etc.		Chord voicings are named using [[hi-lo notation]], as hi3, lo5, etc.

ArrowHead294 at 18:45, 13 March 2025

2025-03-13T18:45:19Z

← Older revision		Revision as of 18:45, 13 March 2025
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	The Ruyoyo comma implies an augmented chord because it equates the octave with 5/4 plus 5/4 plus 9/7. In 12-edo, the aug chord is symmetrical, and it is its own homonym. But in 41edo, it's asymmetrical. Its homonyms are also augmented chords, but of a different type. Thus there are three basic augmented chords: upaug, downaug and down-halfaug. In the last chord, the 5th is spelled as vv#5 rather than ^^5 so that the interval from the 3rd to the 5th is spelled as vM3 not ^<sup>3</sup>m3. An alternative name for down-halfaug is down-dudsharp5 (dud is short for double-down).		The Ruyoyo comma implies an augmented chord because it equates the octave with 5/4 plus 5/4 plus 9/7. In 12-edo, the aug chord is symmetrical, and it is its own homonym. But in 41edo, it's asymmetrical. Its homonyms are also augmented chords, but of a different type. Thus there are three basic augmented chords: upaug, downaug and down-halfaug. In the last chord, the 5th is spelled as vv#5 rather than ^^5 so that the interval from the 3rd to the 5th is spelled as vM3 not ^<sup>3</sup>m3. An alternative name for down-halfaug is down-dudsharp5 (dud is short for double-down).

	There is another trio of aug chords: up-halfaug, upminor-halfaug and up-dupaug, all homonyms. Dup is short for double-up. Their innate comma is the [[Sensamagic chords\|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it really can't be called an augmented chord. The up-dupaug chord has ^^#5, a dupaugmented 5th. This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord. In close voicing it uses every 3rd note of the [[~~Bohlen-Pierce\|Bohlen-Pierce 13ED3~~ scale]].		There is another trio of aug chords: up-halfaug, upminor-halfaug and up-dupaug, all homonyms. Dup is short for double-up. Their innate comma is the [[Sensamagic chords\|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it really can't be called an augmented chord. The up-dupaug chord has ^^#5, a dupaugmented 5th. This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord. In close voicing it uses every 3rd note of the [[Bohlen–Pierce scale]].

	All six chords are odd-limit 9. Another possible aug chord is odd-limit 11. Unlike the others, it has no innate comma. 7:9:11 = up-downsharp5 = C^(v#5) = C ^E vG#. Unfortunately it's very difficult to finger. Using an open string, it's 5 6 x 0. But see [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Primes 11 and 13]] for an alternative way to play this chord, as well as 8:10:13 = down-upsharp5 = Cv(^#5) = C vE ^G#.		All six chords are odd-limit 9. Another possible aug chord is odd-limit 11. Unlike the others, it has no innate comma. 7:9:11 = up-downsharp5 = C^(v#5) = C ^E vG#. Unfortunately it's very difficult to finger. Using an open string, it's 5 6 x 0. But see [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Primes 11 and 13]] for an alternative way to play this chord, as well as 8:10:13 = down-upsharp5 = Cv(^#5) = C vE ^G#.

ArrowHead294: Formatting

2025-01-22T13:05:12Z

Formatting

Show changes

ArrowHead294: ArrowHead294 moved page Kite Guitar Chord Shapes (downmajor tuning) to Kite Guitar chord shapes (downmajor tuning): WP:NCCAPS

2025-01-22T12:59:58Z

ArrowHead294 moved page Kite Guitar Chord Shapes (downmajor tuning) to Kite Guitar chord shapes (downmajor tuning): WP:NCCAPS

← Older revision	Revision as of 12:59, 22 January 2025
(No difference)

TallKite: updated the nomenclature by removing unnecessary commas from the chord names. other changes too.

2025-01-03T07:13:25Z

updated the nomenclature by removing unnecessary commas from the chord names. other changes too.

← Older revision		Revision as of 07:13, 3 January 2025
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	== Overview ==		== Overview ==
	There are many chords on the [[The_Kite_Guitar\|Kite Guitar]] to explore, but the obvious place to start is with those of [[odd-limit\|intervallic odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the ~~9/(~~9:7:6:5:4) pentad. Thus most of these chords can be classified as either '''harmonic''' or '''subharmonic'''. Chords such as vM7, ^m7, vm7 and v6 are classified as '''stacked''' chords, because they are formed by stacking complimentary 3rds. Many chords fall outside these 3 categories.		There are many chords on the [[The_Kite_Guitar\|Kite Guitar]] to explore, but the obvious place to start is with those of [[odd-limit\|intervallic odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the 9:7:6:5:4 pentad. Thus most of these chords can be classified as either '''harmonic''' or '''subharmonic'''. Chords such as vM7, ^m7, vm7 and v6 are classified as '''stacked''' chords, because they are formed by stacking complimentary 3rds. Many chords fall outside these 3 categories.

	~~'''~~Homonyms~~'''~~ are to chords what modes are to scales. C6 and Am7 are homonyms (same notes, different root). In theory, every tetrad has 3 other homonyms, but in practice many are too implausible (e.g. Am7 = G6/9sus4no5). Most tetrads and pentads have at least one plausible homonym.		[[Chord homonym\|Homonyms]] are to chords what modes are to scales. C6 and Am7 are homonyms (same notes, different root). In theory, every tetrad has 3 other homonyms, but in practice many are too implausible (e.g. Am7 = G6/9sus4no5). Most tetrads and pentads have at least one plausible homonym.

	These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. The example chords are arbitrarily rooted on C. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret, even though C is not on the 4th fret. In these tables, the interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.		These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. The example chords are arbitrarily rooted on C. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret, even though C is not on the 4th fret. In these tables, the interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.
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	\|}		\|}
	Flat-nine chords are possible. The plain minor 9th is 21/10, which is the sum of 7/5 and 3/2, thus a m9 works with either a perfect or diminished 5th. Examples:		Flat-nine chords are possible. The plain minor 9th is 21/10, which is the sum of 7/5 and 3/2, thus a m9 works with either a perfect or diminished 5th. Examples:
	* the upminor-7 flat-9 chord = C^~~m7,b9~~ = C ^Eb G ^Bb Db = 4 3 3 2 0		* the upminor-7 flat-9 chord = C^m7b9 = C ^Eb G ^Bb Db = 4 3 3 2 0
	* the upminor-7 flat-5 flat-9 chord = C^m7(b5)b9 = C ^Eb Gb ^Bb Db = 4 3 1 2 0		* the upminor-7 flat-5 flat-9 chord = C^m7(b5)b9 = C ^Eb Gb ^Bb Db = 4 3 1 2 0
	* the downminor-7 flat-9 chord = ~~Cvm7,b9~~ = C vEb G vBb Db = 4 2 3 1 0		* the downminor-7 flat-9 chord = Cvm7b9 = C vEb G vBb Db = 4 2 3 1 0
	* the downminor-7 flat-5 flat-9 chord = Cvm7(b5)b9 = C vEb Gb vBb Db = 4 2 1 1 0		* the downminor-7 flat-5 flat-9 chord = Cvm7(b5)b9 = C vEb Gb vBb Db = 4 2 1 1 0
	The upminor 9th (15/7) is also possible, but hard to play, Example: the downmajor-7 upflat-9 chord = CvM7,^b9 = C vE G vB ^Db. Note that ^Db is enharmonically equivalent to C#, the augmented 8ve. Thus this chord's homonym is vE^m6/C.		The upminor 9th (15/7) is also possible, but hard to play, Example: the downmajor-7 upflat-9 chord = CvM7^b9 = C vE G vB ^Db. Note that ^Db is enharmonically equivalent to C#, the augmented 8ve. Thus this chord's homonym is vE^m6/C.

	== Sixth chords ==		== Sixth chords ==
	Every 6th chord has a 7th chord homonym, and vice versa. But a 7th chord with some sort of major 7th doesn't "flip" to a 6th chord as easily, because the 6th would be some sort of minor 6th, which is rare.		Every 6th chord has a 7th chord homonym, and vice versa. But a 7th chord with some sort of major 7th doesn't "flip" to a 6th chord as easily, because the 6th would be some sort of minor 6th, which is rare.

	Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but ~~with only~~ 6 strings, it'~~s only~~ possible for ~~root-6~~ chords ~~(root on the 6th string)~~. Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and hi6add8 (R 3 5 8 6).		Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but it spans 6 strings, and isn't possible for all chords unless you have 8 strings. Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and hi6add8 (R 3 5 8 6).

	The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.		The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.

	Adding a major 9th (ratio 9/4) to any of these chords will make an offperfect 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. ~~Cv6,v9no5~~ is the same as vD^9no3 (or vD^m9no3). C^6,^9no5 is ^Dv9no3. C^m6,^9no5 and ~~Cvm6,v9no5~~ both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.		Adding a major 9th (ratio 9/4) to any of these chords will make an offperfect 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. Cv6v9no5 is the same as vD^9no3 (or vD^m9no3). C^6^9no5 is ^Dv9no3. C^m6^9no5 and Cvm6v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.

	Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the intervallic odd-limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord. The ^m6,11 chord can be voiced hi35lo11, so that the 11th is a 4th. This is equivalent to a lo5 voicing of its homonym the ^9 chord.		Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the intervallic odd-limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord. The ^m6,11 chord can be voiced hi35lo11, so that the 11th is a 4th. This is equivalent to a lo5 voicing of its homonym the ^9 chord.
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	For example, the downadd7no5 chord has 5/4 and 16/9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224\|Ruyoyo comma]] of only 8¢, 64/45 is equivalent to 10/7. The hi3 voicing inverts this into an even smoother 7/5. This dom7 chord is often appropriate for translating 12-edo's V7 -- I cadence: relaxed but not too relaxed. Adding the 5th creates a plain minor 3rd interval with the 7th. If the m3 is interpreted as 32/27, this increases the odd limit to 27. But if interpreted as 13/11, the odd limit is only 13.		For example, the downadd7no5 chord has 5/4 and 16/9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224\|Ruyoyo comma]] of only 8¢, 64/45 is equivalent to 10/7. The hi3 voicing inverts this into an even smoother 7/5. This dom7 chord is often appropriate for translating 12-edo's V7 -- I cadence: relaxed but not too relaxed. Adding the 5th creates a plain minor 3rd interval with the 7th. If the m3 is interpreted as 32/27, this increases the odd limit to 27. But if interpreted as 13/11, the odd limit is only 13.

	The sus4downmajor7 chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of ~~C4,vM7~~ = C F G vB is the sus2addb5 chord ~~F2,b5~~ = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but "b5" means add a flat 5th alongside the perfect 5th.		The sus4downmajor7 chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of C4vM7 = C F G vB is the sus2addb5 chord F2b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but "b5" means add a flat 5th alongside the perfect 5th.

	The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.		The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.
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	!example w homonym		!example w homonym
	!Cv,7no5 = Bb2(b5)		!Cv,7no5 = Bb2(b5)
	!~~C4,vM7~~ = ~~F2,b5~~		!C4vM7 = F2b5
	!CvM7(b5) = vE2^m6		!CvM7(b5) = vE2^m6
	!Cv7(b5) = Gbv,7(^b5)		!Cv7(b5) = Gbv,7(^b5)
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	\|C vEb vvG vBb		\|C vEb vvG vBb
	\|4 2 2 1 <u>or</u> 4 . 2 1 3		\|4 2 2 1 <u>or</u> 4 . 2 1 3
	\|vEbv,^6		\|vEbv^6
	\|-		\|-
	\|down up-6		\|down up-6
	\|Cv,^6		\|Cv^6
	\|C vE G ^A		\|C vE G ^A
	\|4 . 7 (5) 5 4		\|4 . 7 (5) 5 4
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	\|C ^Eb ^^Gb ^Bb		\|C ^Eb ^^Gb ^Bb
	\|4 3 2 2 <u>or</u> 4 . 2 2 4		\|4 3 2 2 <u>or</u> 4 . 2 2 4
	\|^Eb^~~m,v6~~		\|^Eb^mv6
	\|-		\|-
	\|upminor down-6		\|upminor down-6
	\|C^~~m,v6~~		\|C^mv6
	\|C ^Eb G vA		\|C ^Eb G vA
	\|4 . 6 (5) 4 4		\|4 . 6 (5) 4 4
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	\|-		\|-
	!example		!example
	!Cv,^7 or Cv9(^7)		!Cv^7 or Cv9(^7)
	\|-		\|-
	!example notes		!example notes

TallKite at 23:09, 8 October 2023

2023-10-08T23:09:13Z

TallKite at 19:34, 8 October 2023

2023-10-08T19:34:50Z

← Older revision		Revision as of 19:34, 8 October 2023
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			See also [[41edo Chord Names]]

	== Overview ==		== Overview ==
	There are many chords on the [[The_Kite_Guitar\|Kite Guitar]] to explore, but the obvious place to start is with those of [[odd-limit\|intervallic odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the 9/(9:7:6:5:4) pentad. Thus most of these chords can be classified as either '''harmonic''' or '''subharmonic'''. Chords such as vM7, ^m7, vm7 and v6 are classified as '''stacked''' chords, because they are formed by stacking complimentary 3rds. Many chords fall outside these 3 categories.		There are many chords on the [[The_Kite_Guitar\|Kite Guitar]] to explore, but the obvious place to start is with those of [[odd-limit\|intervallic odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the 9/(9:7:6:5:4) pentad. Thus most of these chords can be classified as either '''harmonic''' or '''subharmonic'''. Chords such as vM7, ^m7, vm7 and v6 are classified as '''stacked''' chords, because they are formed by stacking complimentary 3rds. Many chords fall outside these 3 categories.

TallKite: updated the hi-lo notation, added a link to the hi-lo page

2022-12-04T06:26:47Z

updated the hi-lo notation, added a link to the hi-lo page

Show changes

TallKite: /* 12-edo Major Thirds Tuning */ added link to devin's blogpost

2022-09-25T21:10:14Z

12-edo Major Thirds Tuning: added link to devin's blogpost

← Older revision		Revision as of 21:10, 25 September 2022
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	"Much of the classical guitar literature becomes difficult or impossible to play because of frequent use of open D and A strings. However, I found Bach and early lute music easier to play with this tuning. Jim DiSerio made my eight string classical guitar with a capo on the low Ab string, bringing it up to an A without affecting the tuning. That solved the problem of the "open" A string."		"Much of the classical guitar literature becomes difficult or impossible to play because of frequent use of open D and A strings. However, I found Bach and early lute music easier to play with this tuning. Jim DiSerio made my eight string classical guitar with a capo on the low Ab string, bringing it up to an A without affecting the tuning. That solved the problem of the "open" A string."

	See also [http://v3.m3guitar.com/ v3.m3guitar.com] ~~and~~ [https://www.tonycorman.com/m3-guitar TonyCorman.com/m3-guitar]		See also:

			* [http://v3.m3guitar.com/ v3.m3guitar.com]
			* [https://www.tonycorman.com/m3-guitar TonyCorman.com/m3-guitar]
			* [https://www.devinulibarri.com/2021/07/18/what-is-major-3rd-tuning-for-guitar/ devinulibarri.com/2021/07/18/what-is-major-3rd-tuning-for-guitar/]

	[[Category:Kite Guitar]]		[[Category:Kite Guitar]]

TallKite: /* Mid-5th Chords */

2022-09-22T23:55:57Z

Mid-5th Chords

← Older revision		Revision as of 23:55, 22 September 2022
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	\|}		\|}
	=== Augmented Chords ===		=== Augmented Chords ===
	The Ruyoyo comma implies an augmented chord because it ~~lets~~ 5/4, 5/4 ~~and~~ 9/7 ~~add up to 2/1~~. In 12-edo, the aug chord is symmetrical, and it is its own homonym. But in 41edo, it's asymmetrical. Its homonyms are also augmented chords, but of a different type. Thus there are three basic augmented chords: upaug, downaug and down-halfaug. In the last chord, the 5th is spelled as vv#5 rather than ^^5 so that the interval from the 3rd to the 5th is spelled as vM3 not ^<sup>3</sup>m3. An alternative name is down-dudsharp5 (dud is short for double-down).		The Ruyoyo comma implies an augmented chord because it equates the octave with 5/4 plus 5/4 plus 9/7. In 12-edo, the aug chord is symmetrical, and it is its own homonym. But in 41edo, it's asymmetrical. Its homonyms are also augmented chords, but of a different type. Thus there are three basic augmented chords: upaug, downaug and down-halfaug. In the last chord, the 5th is spelled as vv#5 rather than ^^5 so that the interval from the 3rd to the 5th is spelled as vM3 not ^<sup>3</sup>m3. An alternative name for down-halfaug is down-dudsharp5 (dud is short for double-down).

	There is another trio of aug chords: up-halfaug, upminor-halfaug and up-~~sesquiaug~~, all homonyms. Their innate comma is the [[Sensamagic chords\|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it really can't be called an augmented chord. The up-~~sesquiaug~~ chord has ^^#5, a ~~sesqui-augmented~~ 5th ~~("sesqui-" means one-and-a-half)~~. This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord. In close voicing it uses every 3rd note of the [[Bohlen-Pierce\|Bohlen-Pierce 13ED3 scale]].		There is another trio of aug chords: up-halfaug, upminor-halfaug and up-dupaug, all homonyms. Dup is short for double-up. Their innate comma is the [[Sensamagic chords\|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it really can't be called an augmented chord. The up-dupaug chord has ^^#5, a dupaugmented 5th. This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord. In close voicing it uses every 3rd note of the [[Bohlen-Pierce\|Bohlen-Pierce 13ED3 scale]].

	All six chords are odd-limit 9. Another possible aug chord is odd-limit 11. Unlike the others, it has no innate comma. 7:9:11 = up-downsharp5 = C^(v#5) = C ^E vG#. Unfortunately it's very difficult to finger. Using an open string, it's 5 6 x 0. But see [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Primes 11 and 13]] for an alternative way to play this chord, as well as 8:10:13 = down-upsharp5 = Cv(^#5) = C vE ^G#.		All six chords are odd-limit 9. Another possible aug chord is odd-limit 11. Unlike the others, it has no innate comma. 7:9:11 = up-downsharp5 = C^(v#5) = C ^E vG#. Unfortunately it's very difficult to finger. Using an open string, it's 5 6 x 0. But see [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Primes 11 and 13]] for an alternative way to play this chord, as well as 8:10:13 = down-upsharp5 = Cv(^#5) = C vE ^G#.
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	!uphalfaug		!uphalfaug
	!upminor-halfaug		!upminor-halfaug
	!up-~~sesquiaug~~		!up-dupaug
	\|-		\|-
	!example with homonyms		!example with homonyms
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	\|		\|
	\|}		\|}
	Note that the mid-5th is spelled as a dupdim 5th from the chord root (^^Gb) if the 3rd is upped, but as a dud 5th (vvG) if the 3rd is downed. This avoids the interval from the 3rd to the 5th being spelled with a triple up or down.		Note that the mid-5th is spelled as a dupdim 5th from the chord root (^^Gb) if the 3rd is upped, but as a dud 5th (vvG) if the 3rd is downed. This avoids the interval from the 3rd to the 5th being spelled with a trup or trud (triple-up or triple-down).

	The most important chord with a mid 5th is the downup7 chord. When translating pre-20th-century music to the Kite Guitar, the 7-limit up7 and down7 chords often sound inappropriate. The two best 5-limit translations of the dom7 chord are the downadd7 chord and the downup7 chord. The latter is used in Kite's [[Kite Guitar Translations by Kite Giedraitis\|Greensleeves translation]]. The mid-5th appears as the interval from the 3rd up to the 7th. In a 5-limit context it is 36/25. It's equated to 16/11 by the [[100/99\|Luyoyo]] comma, and to 13/9 by the [[325/324\|Thoyoyo]] comma.		The most important chord with a mid 5th is the downup7 chord. When translating pre-20th-century music to the Kite Guitar, the 7-limit up7 and down7 chords often sound inappropriate. The two best 5-limit translations of the dom7 chord are the downadd7 chord and the downup7 chord. The latter is used in Kite's [[Kite Guitar Translations by Kite Giedraitis\|Greensleeves translation]]. The mid-5th appears as the interval from the 3rd up to the 7th. In a 5-limit context it is 36/25. It's equated to 16/11 by the [[100/99\|Luyoyo]] comma, and to 13/9 by the [[325/324\|Thoyoyo]] comma.

← Older revision		Revision as of 23:09, 8 October 2023
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	See also [[41edo Chord Names]]		See also: [[41edo Chord Names\|'''41edo Chord Names''']]

	== Overview ==		== Overview ==
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	These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. The example chords are arbitrarily rooted on C. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret, even though C is not on the 4th fret. In these tables, the interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.		These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. The example chords are arbitrarily rooted on C. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret, even though C is not on the 4th fret. In these tables, the interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.

	Chords are named using [[Ups and Downs Notation\|ups and down notation]], see ~~also~~ the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72~~] and [[41edo Chord Names]~~]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.		Chords are named using [[Ups and Downs Notation\|ups and down notation]], see the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.

	Chord voicings are named using [[hi-lo notation]], as hi3, lo5, etc.		Chord voicings are named using [[hi-lo notation]], as hi3, lo5, etc.
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	'''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4, example note D) to any of the first 4 tetrads increases the intervallic odd-limit only slightly if at all. The up-7 chord is arguably improved by adding a 9th. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.		'''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4, example note D) to any of the first 4 tetrads increases the intervallic odd-limit only slightly if at all. The up-7 chord is arguably improved by adding a 9th. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.

	11th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain ~~a wolf~~ 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 is very difficult to play.		11th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain an offperfect 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 is very difficult to play.

	The wordy min7b5 and the illogical half-dim can be replaced with dim add7. The cryptic superscripted-circle-with-slash symbol becomes either ^d^7 or vdv7.		The wordy min7b5 and the illogical half-dim can be replaced with dim add7. The cryptic superscripted-circle-with-slash symbol becomes either ^d^7 or vdv7.
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	Every 6th chord has a 7th chord homonym, and vice versa. But a 7th chord with some sort of major 7th doesn't "flip" to a 6th chord as easily, because the 6th would be some sort of minor 6th, which is rare.		Every 6th chord has a 7th chord homonym, and vice versa. But a 7th chord with some sort of major 7th doesn't "flip" to a 6th chord as easily, because the 6th would be some sort of minor 6th, which is rare.

	Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it's only possible for root-6 chords. Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and ~~hi6~~ (R 3 5 8 6).		Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it's only possible for root-6 chords (root on the 6th string). Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and hi6add8 (R 3 5 8 6).

	The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.		The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.

	Adding a major 9th (ratio 9/4) to any of these chords will make ~~a wolf~~ 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. Cv6,v9no5 is the same as vD^9no3 (or vD^m9no3). C^6,^9no5 is ^Dv9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.		Adding a major 9th (ratio 9/4) to any of these chords will make an offperfect 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. Cv6,v9no5 is the same as vD^9no3 (or vD^m9no3). C^6,^9no5 is ^Dv9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.

	Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the intervallic odd-limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord. The ^m6,11 chord can be voiced hi35lo11, so that the 11th is a 4th. This is equivalent to a lo5 voicing of its homonym the ^9 chord.		Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the intervallic odd-limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord. The ^m6,11 chord can be voiced hi35lo11, so that the 11th is a 4th. This is equivalent to a lo5 voicing of its homonym the ^9 chord.