Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions
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Descending from a note on the lowest string also requires two backtracking jumps. Note that this exercise is impossible if starting on the lowest string too close to the nut, or the 1st string too close to the heel. | Descending from a note on the lowest string also requires two backtracking jumps. Note that this exercise is impossible if starting on the lowest string too close to the nut, or the 1st string too close to the heel. | ||
Multiple ascending backtracking jumps will walk you through | Multiple ascending backtracking jumps will walk you through a complex zone and put you in the next higher rainbow zone. In general it's better to stay in one rainbow zone. But sometimes you may want to move to a higher range, and this maneuver avoids a large leap (see the next exercise). | ||
Moving exclusively by plain minor 2nds and upminor 2nds aka aug unisons = (0,+2) can imitate the sound of 12-equal quite closely. The exact order of the steps doesn't matter too much, just do whatever is comfortable. Try traversing these intervals: | Moving exclusively by plain minor 2nds and upminor 2nds aka aug unisons = (0,+2) can imitate the sound of 12-equal quite closely. The exact order of the steps doesn't matter too much, just do whatever is comfortable. Try traversing these intervals: | ||
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* the prime limit doesn't change | * the prime limit doesn't change | ||
7th chords rotate to 6th chords, but every 6th chord has a 7th chord homonym. So 7th chords can rotate to 7th chords, as in our first example 4 4 3 1 --> 4 2 1 1. You can think of this as Cv7 becomes vEb^m6/C, or as Cv7 becomes Cvdv7. | 7th chords rotate to 6th chords, but every 6th chord has a 7th chord [[Chord homonym|homonym]]. So 7th chords can rotate to 7th chords, as in our first example 4 4 3 1 --> 4 2 1 1. You can think of this as Cv7 becomes vEb^m6/C, or as Cv7 becomes Cvdv7. | ||
==== Rotating a Chord Progression ==== | ==== Rotating a Chord Progression ==== | ||
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The last two columns take this idea further. The bolded note is <u>raised</u> to make a min6 chord that resolves down a 4th to the new tonic. This IVm6 - I cadence is simply the rotation of V7 - I. Note that both cadences take you to the same 4 keys. Also, the chord that results from raising the note can be interpreted as a dom9noR chord, in which case it resolves the same as if the note had been lowered. For example, Ebm6 can resolve to Bb, but if heard as Ab9noR, it can resolve to Db. Likewise, the Ab7 chord can be interpreted as Ebm6,11no5, and thus can resolve to Bb. (This is perhaps more plausible in 41-equal than in 12-equal.) In all these cadences, the C-Gb dim 5th resolves inward to a 3rd. | The last two columns take this idea further. The bolded note is <u>raised</u> to make a min6 chord that resolves down a 4th to the new tonic. This IVm6 - I cadence is simply the [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Rotations aka Inversions|rotation]] of V7 - I. Note that both cadences take you to the same 4 keys. Also, the chord that results from raising the note can be interpreted as a dom9noR chord, in which case it resolves the same as if the note had been lowered. In other words, instead of being lowered to become the root, the note is raised to become the ninth. For example, Ebm6 can resolve to Bb, but if heard as Ab9noR, it can resolve to Db. Likewise, the Ab7 chord can be interpreted as Ebm6,11no5, and thus can resolve to Bb. (This is perhaps more plausible in 41-equal than in 12-equal.) In all these cadences, the C-Gb dim 5th resolves inward to a 3rd. | ||
Let's extend this idea to 41-equal. A plain dim7 chord is possible, but awkward on the Kite guitar. So we will focus on the ^dim7 and vdim7 chords. Neither of these are symmetrical, so 40 more tables would be needed! How much to raise/lower by? The bolded note has another chord note a tritone above it. The bolded note is either lowered to make that interval a perfect 5th, or raised to make a perfect 4th. | Let's extend this idea to 41-equal. A plain dim7 chord is possible, but awkward on the Kite guitar. So we will focus on the ^dim7 and vdim7 chords. Neither of these are symmetrical, so 40 more tables would be needed! How much to raise/lower by? The bolded note has another chord note a tritone above it. The bolded note is either lowered to make that interval a perfect 5th, or raised to make a perfect 4th. | ||
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|- | |- | ||
|A^d7 = A '''<u>^C</u>''' vD# F# | |A^d7 = A '''<u>^C</u>''' vD# F# | ||
|Bv7 = '''<u>vA</u>''' B vD# | |Bv,7 = A B vD# F# | ||
Bv7 = '''<u>vA</u>''' B vD# F# | |||
|E | |E | ||
|F#vm6 = '''<u>vA</u>''' C# vD# F# | |F#vm6 = '''<u>vA</u>''' C# vD# F# | ||
''(F# | ''(F#mv6 = A C# vD# F#)'' | ||
|C# | |C# | ||
|- | |- | ||
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''(D,^7 = A ^C D F#)'' | ''(D,^7 = A ^C D F#)'' | ||
|G | |G | ||
|A^m6 = A ^C E '''<u>^F#</u>''' | |A^m,6 = A ^C E F# | ||
A^m6 = A ^C E '''<u>^F#</u>''' | |||
|E | |E | ||
|- | |- | ||
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|^G | |^G | ||
|} | |} | ||
Note that unlike in 12-equal, the IV-I cadences take you to mostly different keys than the V-I cadences. | |||
Again, there are alternate interpretations for the new chord. | Again, there are alternate interpretations for the new chord. | ||