Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions
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Once you get the general idea, test yourself by counting the notes out loud as you go. If you say (or sing) "one" for Ab, "two" for the next note, etc., you should return to Ab just as you say "42", which is after all [[wikipedia:Phrases_from_The_Hitchhiker's_Guide_to_the_Galaxy#Answer_to_the_Ultimate_Question_of_Life,_the_Universe,_and_Everything_(42)|The Answer to the Ultimate Question of Life, the Universe, and Everything]]! | Once you get the general idea, test yourself by counting the notes out loud as you go. If you say (or sing) "one" for Ab, "two" for the next note, etc., you should return to Ab just as you say "42", which is after all [[wikipedia:Phrases_from_The_Hitchhiker's_Guide_to_the_Galaxy#Answer_to_the_Ultimate_Question_of_Life,_the_Universe,_and_Everything_(42)|The Answer to the Ultimate Question of Life, the Universe, and Everything]]! | ||
Get to the point where you can play this 42-note bass line in under 15 seconds. The final step is to play an actual chord over each of these bass notes. It can be a v7 chord or an ^m7 chord, or really any chord you want to practice. Use a close voicing for root-4 chords, a | Get to the point where you can play this 42-note bass line in under 15 seconds. The final step is to play an actual chord over each of these bass notes. It can be a v7 chord or an ^m7 chord, or really any chord you want to practice. Use a close voicing for root-4 chords, a hi3 voicing for root-5 chords, and a hi35 voicing for root-6 chords. (See [[hi-lo notation]].) | ||
If you're really obsessed with music theory, rather than counting to 42, say the actual note names: | If you're really obsessed with music theory, rather than counting to 42, say the actual note names: | ||
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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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In 41-equal, 5-over intervals like 5/4 and 5/3 are about 6¢ flat. This issue is even more subtle than the innate-comma pentad, but still noticeable. One can correct this by applying a '''tenth-fret''' bend to certain notes of the chord. This sounds hard, but fortunately there are only a few chord shapes to apply this to. One quickly gets in the habit of "leaning on" certain notes in these shapes. | In 41-equal, 5-over intervals like 5/4 and 5/3 are about 6¢ flat. This issue is even more subtle than the innate-comma pentad, but still noticeable. One can correct this by applying a '''tenth-fret''' bend to certain notes of the chord. This sounds hard, but fortunately there are only a few chord shapes to apply this to. One quickly gets in the habit of "leaning on" certain notes in these shapes. | ||
For example, with a downmajor chord in R-5-10 (aka | For example, with a downmajor chord in R-5-10 (aka hi3) voicing, bend the 3rd up slightly with your pinkie. Listen closely for interference beats that slow down as you bend up. It may help to play the actual coinciding harmonics first. As you play 4 x 3 x 5 x, play matching artificial harmonics at <v11> x x x <v26> x, and also at x x <v10> x <17> x (see Harmonics above). For a 4 x 3 5 5 x voicing, to bend the 3rd up, you'll need to pull your pinkie down towards the treble side of the fretboard. For a 1st inversion x 4 3 5 x x voicing, push your finger up towards the bass side. It's rather difficult to bend the 3rd in a close 4 4 3 5 x x voicing. | ||
It's also possible to correct the 6¢ sharpness of 5-under intervals by bending a note slightly <u>down</u>. Press the string firmly against the fingerboard and push it towards the bridge. This is harder to do by the nut, because bending down stretches the string behind the fret, and there's very little to stretch there. | It's also possible to correct the 6¢ sharpness of 5-under intervals by bending a note slightly <u>down</u>. Press the string firmly against the fingerboard and push it towards the bridge. This is harder to do by the nut, because bending down stretches the string behind the fret, and there's very little to stretch there. | ||
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|one of my favorites, even though 3 common tones | |one of my favorites, even though 3 common tones | ||
|} | |} | ||
These are similar to [https://viva.pressbooks.pub/openmusictheory/chapter/neo-riemannian-triadic-progressions/ neo-Riemannian progressions], but using 41-equal 7-limit tetrads not 12-equal 5-limit triads. A more exact extension of the 12-equal case would allow only two tetrads, the v7 (harmonic) and vdv7 (subharmonic) ones. Interestingly, just as in the 5-limit 12-equal case, you can get from one tetrad to any other in five steps or less (four if the first and last chord have the same quality). Thus one can modulate to any key in 41edo fairly quickly. | |||
=== Harmonizing Fretwise Melodies === | === Harmonizing Fretwise Melodies === | ||
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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. | ||