Kite's thoughts on hi-lo notation

Hi-lo notation was invented by Kite Giedraitis for naming chord voicings. It applies to all tunings, even conventional ones like 12-edo or meantone. It allows arrangers, composers and theorists to discuss specific voicings with much more accuracy than the conventional 1st inversion, 2nd inversion, etc. nomenclature.

• C E G = C or C close
• C G E = Chi3 (because the 3rd is an 8ve higher than in the close voicing)
• G C E = Clo5 (aka 2nd inversion)
• E G C = ChiR (R stands for root) aka 1st inversion
• E C G = Clo3 (also 1st inversion)
• G E C = ChiRlo5

When there are multiple high or low notes, the terms "hi" and "lo" are only used once:

• C G E B = CM7hi37
• G Bb C E = C7lo57

"Add" is used for duplicated notes:

• C E G C = Cadd8
• G C E G = Caddlo5
• G C E G C = Caddhi8lo5
• C E G E = Caddhi3 or Cadd10
• C C E G = CaddloR or possibly Chi35add8

This doesn't conflict with the usual use of "add" in chord names:

• C E G D = Cadd9
• C E G C D = Cadd89
• C D E G = Caddlo9 or Cadd2
• D C E G = Caddlo2

"No" is used as usual to omit notes, as in C9no5. The 4 words are used in this order: no - hi - lo - add - hi - lo. First omit notes, then move notes higher, then move notes lower, then add notes, then add high notes, then add low notes. Following this order removes any ambiguity:

• Chi3add8 = C G C E
• Cadd8hi3 = C E G C E
• Caddhi38 = C E G E C

The common open chords of a guitar:

• C major: x32010 = C E G C E = Cadd8hi3
• D major: x00232 = A D A D F# = Dhi3add8lo5
• E major: 022100 = E B E G# B E = Eadd8loR5 or possibly Ehi3add8hi58
• G major: 320003 = G B D G B G = Gadd8hi38 or possibly Glo5add8loR3
• A major: 002220 = E A E A C# E = Ahi3add8hi5lo5

To find the number of voices in a chord, start with the obvious: a triad has 3, a tetrad has 4, etc. Then subtract the "no" notes and add the "add" notes. For example, A7no5hi3add8 has 4 (tetrad) - 1 (no 5th) + 1 (add 8ve) = 4.

For more examples, see Kite Guitar Chord Shapes (downmajor tuning).

Notating chord progressions

There are sometimes two possible names for a voicing, depending on what one considers the "home octave" to be. As we saw, C C E G can be either CaddloR or Chi35add8. This ambiguity can be removed by designating one note in a specific octave as "the" tonic, then naming all other notes relative to that tonic. Unlike octave numbers which only increase when going from B up to C, the hi-lo categories only change in the region of the tonic. This has the advantage that transposing to a new key won't change the hi-lo categories.

G major scale in both scientific pitch notation and hi-lo notation

SPN names	D2	E2	F#2	G2	A2	B2	C3	D3	E3	F#3	G3	A3	B3
hi-lo names	loD	loE	loF#	G	A	B	C	D	E	F#	hiG	hiA	hiB

Chord progressions can be written out as e.g. Cadd8 - loAmhi3add8 - Dm7 - loG7hi3. The entire 4-part harmony can be deduced note-for-note from this. Here are the notes, where the lower octave uses underlined letters and the upper octave uses lower-case letters:

• C E G c
• A E A c
• D F A c
• G D F B

This works with relative notation as well: Iadd8 - loVImhi3add8 - IIm7 - loV7hi3.

Naming the roots as hi or lo almost allows us to reduce a barbershop tag to a mere succession of chords. However voices sometimes coincide or cross. See Kite Guitar Translations by Kite Giedraitis#Barbershop tags