@@ Line 159: / Line 159: @@
 === Amazing Grace (trad.) ===
-An easy arrangement meant as an introduction to the Kite guitar.  The chords can be strummed slowly. The fingerings are given above each chord. In the 2nd chord, 2(2)134 means the middle finger frets the 6th string and also dampens the 5th string.
+An easy arrangement meant as an introduction to the Kite guitar. The chords can be strummed slowly. The fingerings are given above each chord. In the 2nd chord, 2(2)134 means the middle finger frets the 6th string and also dampens the 5th string.
 -string version in A downmajor:
@@ Line 196: / Line 196: @@
 </tt>
-=== Simple Twist Of Fate (Bob Dylan) ===
-This song uses lots of inversions to create its distinctive bass line. The original Blood On The Tracks version uses an open D tuning, capo'ed up to E. The translation is mostly 5-limit. The only 7-limit chord is Av7, which could become a 5-limit chord, Av,7.
-<tt>
- Dv       /       /       /       Dv/vC#   /       /       /
- Dv/C     /       /       /       Gv/vB    /       /       /
- G^m/^Bb  /       /       /       Dv       A4/vC#  Gv/vB   /
- Dv/A     /       Av7     /       Dv       /       /       /
-</tt>
-Relative notation. The number after the slash indicates the interval from the root of the chord, not from the tonic of the scale. The reason for this is explained in the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation Guide for Edos], near the end of section 3.
+=== Wade In The Water (trad. spiritual) ===
+Another easy arrangement meant as an introduction to the Kite guitar. For 6-string guitar. Bars 9-10 and 13-14 can be improvised. The unusual fingering in bars 11-12 is meant to facilitate smooth sliding of the upper 2 voices.
 <tt>
- Iv       /       /       /       Iv/vM7   /       /       /
+  Wade        in the wa-     ter      Wade       in the water chi-ildren
+   fingering x21143 ----------------\
+ | - - 4 - 4 - - - | - - 4 - - - 4 - | - - 4 - 4 - - - | - - - - - - - - |
+ | - - 5 - 5 - - - | - - 5 - - - 5 - | - - 5 - 5 - 2 - | 5 - 2 - - - - - |
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | 3 - - - - - - 3 | - - - 3 - - - - |
+ | - - - - - - 3 - | 3 - - - - - - - | - - 6 - 6 - - - | - - - - - 6 3 - |
+ | 4 - - - - - - 4 | - - - - 4 - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  Iv/7     /       /       /       IVv/3    /       /       /
+  Wade        in the wa-    ter      God's gonna trouble the wa-ater
+ | - - 4 - 4 - - - | - - 4 - - - 4 - | - - - - - - - - | - - - - - - 4 - |
+ | - - 5 - 5 - - - | - - 5 - - - 5 - | - - - - - - - - | - - - - - - 5 - |
+  | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
+ | - - - - - - 3 - | 3 - - - - - - - | 3 - - - - - - - | - - - - - - - - |
+ | 4 - - - - - - 4 | - - - - 4 - - - | - - 4 4 4 4 - - | 1 - 3 4 - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - 2 | - - - - - - - - |
- IV^m/3   /       /       /       Iv       V4/v3   IVv/3   /
-  Iv/5     /       Vv7     /       Iv       /       /       /
+  See that band all dressed in re-e-ed  God's gonna trouble the wa-ater  It
-</tt>
+                                      fingering xxx132 ----------\
+ | - - - - - - - - | - - - - - - - - | 4 - 4 4 4 4 - - | 2 - 3 4 - - - - |
+ | - - - - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+ | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - 3 |
+ | 3 - - 3 - - - - | 3 6 - 3 - 6 3 - | - - - - - - - - | - - - - - - - - |
+ | - 4 - - - 4 - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ look like a band that Mo-oses le-ed   God's gonna trouble the wa-ater
+ | - - - - - - - - | - - - - - - - - | 4 - 4 4 4 4 - - | 2 - 3 4 - - - - |
+ | 5 5 2 - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+ | - - - - 3 - - - | - 3 - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - - |
+ | - - - - - - - 3 | 6 - 6 3 - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+</tt>
-Tab in ^C downmajor for a 6-string guitar. '''<u>Detune the top string by a half-fret</u>''', to make a unison with the 2nd string 6th fret, and an 8ve with the 5th string 5th fret. Capo up 6 or 7 frets to get close to the original key of E.
+downminor version:
 <tt>
-  Iv       . 5 5 4 . 0
+  | - - 3 - 3 - - - | - - 3 - - - 3 - | - - 3 - 3 - - - | - - - - - - - - |
+ | - - 5 - 5 - - - | - - 5 - - - 5 - | - - 5 - 5 - 1 - | 5 - 1 - - - - - |
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | 3 - - - - - - 3 | - - - 3 - - - - |
+ | - - - - - - 2 - | 2 - - - - - - - | - - 6 - 6 - - - | - - - - - 6 2 - |
+ | 4 - - - - - - 4 | - - - - 4 - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  Iv/vM7   . 3 5 4 . 0
+  | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
+ | - - 5 - 5 - - - | - - 5 - - - 5 - | - - - - - - - - | - - - - - - 5 - |
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
+ | - - - - - - 2 - | 2 - - - - - - - | 2 - - - - - - - | - - - - - - - - |
+ | 4 - - - - - - 4 | - - - - 4 - - - | - - 4 4 4 4 - - | 0 - 3 4 - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - 2 | - - - - - - - - |
- Iv/7     8 . 5 4 . 0
-  IVv/3    6 . 7 7 . 0
+  | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - - | 2 - 2 3 - - - - |
+ | - - - - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+ | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - 3 |
+ | 2 - - 2 - - - - | 2 6 - 2 - 6 2 - | - - - - - - - - | - - - - - - - - |
+ | - 4 - - - 4 - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  IV^m/3   5 . 7 6 . 0  (see note below)
+  | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - - | 2 - 2 3 - - - - |
+ | 5 5 1 - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+ | - - - - 3 - - - | - 3 - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - - |
+ | - - - - - - - 2 | 6 - 6 2 - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+</tt>
+=== Simple Twist Of Fate (Bob Dylan) ===
+This song uses lots of inversions to create its distinctive bass line. The original Blood On The Tracks version uses an open D tuning, capo'ed up to E. The translation is mostly 5-limit. The only 7-limit chord is Av7, which could become a 5-limit chord, Av,7.
+<tt>
+  Dv       /       /       /       Dv/vC#   /       /       /
-  Iv       . 5 5 4 . 0
+  Dv/C     /       /       /       Gv/vB    /       /       /
- V4/v3    . 3 2 4 . 0
- IVv/3    6 . 7 7 . 0
-  Iv/5     3 . 5 4 . 0
+  G^m/^Bb  /       /       /       Dv       A4/vC#  Gv/vB   /
-  Vv7      3 . 2 0 4 .
-  Iv       . 5 5 4 . 0
+  Dv/A     /       Av7     /       Dv       /       /       /
 </tt>
-Instead of detuning, one could capo on the a-fret and move everything up one fret. But then one can't change the key to D or E by capoing.
-The Blood On The Tracks version has the IVm chord voiced R-3-5. But I like it voiced with the 3rd in the bass. I like the tension created by the bass line slowly approaching the 5th, then suddenly jumping back up to the 8ve. For Dylan's voicing, just omit the bass and play . . 7 6 . 0
+Relative notation. The number after the slash indicates the interval from the root of the chord, not from the tonic of the scale. The reason for this is explained in the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation Guide for Edos], near the end of section 3.
+<tt>
+ Iv       /       /       /       Iv/vM7   /       /       /
+ Iv/7     /       /       /       IVv/3    /       /       /
+ IV^m/3   /       /       /       Iv       V4/v3   IVv/3   /
+ Iv/5     /       Vv7     /       Iv       /       /       /
+</tt>
-=== Fast Car (Tracy Chapman) ===
+Tab in ^C downmajor for a 6-string guitar. '''<u>Detune the top string by a half-fret</u>''', to make a unison with the 2nd string 6th fret, and an 8ve with the 5th string 5th fret. Capo up 6 or 7 frets to get close to the original key of E.
-For 6 strings. Key is ^^F downmajor, the open 6th string. Capo on the 6th fret for the original key of A. Main riff:
 <tt>
-     -   -   -   0  | -   0   -   -  | -   -   -   -  | -   -   -   -
+ Iv       . 5 5 4 . 0
+ Iv/vM7   . 3 5 4 . 0
+ Iv/7     8 . 5 4 . 0
+ IVv/3    6 . 7 7 . 0
+ IV^m/3   5 . 7 6 . 0  (see note below)
+ Iv       . 5 5 4 . 0
+ V4/v3    . 3 2 4 . 0
+ IVv/3    6 . 7 7 . 0
+ Iv/5     3 . 5 4 . 0
+ Vv7      3 . 2 0 4 .
+ Iv       . 5 5 4 . 0
+</tt>
+Instead of detuning, one could capo on the a-fret and move everything up one fret. But then one can't change the key to D or E by capoing.
+The Blood On The Tracks version has the IVm chord voiced R-3-5. But I like it voiced with the 3rd in the bass. I like the tension created by the bass line slowly approaching the 5th, then suddenly jumping back up to the 8ve. For Dylan's voicing, just omit the bass and play . . 7 6 . 0
+=== Fast Car (Tracy Chapman) ===
+For 6 strings. Key is ^^F downmajor, the open 6th string. Capo on the 6th fret for the original key of A. Main riff:
+<tt>
+     -   -   -   0  | -   0   -   -  | -   -   -   -  | -   -   -   -
    3   1   -  | -   -   -   -  | 15 (18) 15  13 | -   13  -   -
    -   1   1  | -   -   -   -  | -   -   -   -  | -   -   -   -
@@ Line 253: / Line 326: @@
    -   -   -  | -   -   14  -  | 14  -   -   14 | -   -   14  -
      -   -   -   0  | -   -   -   -  | 15  -   -   12 | -   -   -   -
+</tt>
-</tt>
 This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret.
 <tt>
@@ Line 263: / Line 336: @@
    -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
      -   -   -   0  | -   -   -   -  | 15  -   -   12 | -   -   -   -
+</tt>
-</tt>
 The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. <b>Bolded</b> notes are capo'ed open strings:
 <tt>
@@ Line 831: / Line 904: @@
 The bridge is straightforward. We want plain Bb and C roots, to keep the sense of key. To avoid an offperfect root move, Eb must be plain as well. Again, the G chord and the Eb chord have common tones, so we want a vG root.
-=== Wade In The Water (trad. spiritual) ===
+=== Blackbird (Beatles) ===
-For 6-string guitar. Bars 9-10 and 13-14 can be improvised. The unusual fingering in bars 11-12 is meant to facilitate smooth sliding of the upper 2 voices.
-<tt>
+This charming song is a great study in 10ths! Over a constant G drone in the middle voice:
-  Wade        in the wa-     ter      Wade       in the water chi-ildren
+<tt>
-  fingering x21143 ----------------\
+ Blackbird...  | vb   c  |  d | vb' vb' | vb' vb' |
-  | - - 4 - 4 - - - | - - 4 - - - 4 - | - - 4 - 4 - - - | - - - - - - - - |
+               |  G  vA  | vB |  g   g  |  g   g  |
-  | - - 5 - 5 - - - | - - 5 - - - 5 - | - - 5 - 5 - 2 - | 5 - 2 - - - - - |
-  | - - 3 - 3 - - - | - - 3 - - - 3 - | 3 - - - - - - 3 | - - - 3 - - - - |
+  Take these... | ve   g' | vf# a' |  g   g |  g   g  |
-  | - - - - - - 3 - | 3 - - - - - - - | - - 6 - 6 - - - | - - - - - 6 3 - |
+               |  C  ^C# |  D  D# | vE  vE | vEb vEb |
-  | 4 - - - - - - 4 | - - - - 4 - - - | - - - - - - - - | - - - - - - - - |
-  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  Wade        in the wa-    ter      God's gonna trouble the wa-ater
+  All your life | vf#  g' | ve ve | veb veb |
-  | - - 4 - 4 - - - | - - 4 - - - 4 - | - - - - - - - - | - - - - - - 4 - |
+               |  D   Db |  C  C |  C   C  |
-  | - - 5 - 5 - - - | - - 5 - - - 5 - | - - - - - - - - | - - - - - - 5 - |
-  | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
-  | - - - - - - 3 - | 3 - - - - - - - | 3 - - - - - - - | - - - - - - - - |
-  | 4 - - - - - - 4 | - - - - 4 - - - | - - 4 4 4 4 - - | 1 - 3 4 - - - - |
-  | - - - - - - - - | - - - - - - - - | - - - - - - - 2 | - - - - - - - - |
+ You were only |  d   d  | c# c# | c c | vb vb |
+  waiting...   | vB  vB  | ^A ^A | D D |  G  G |
- See that band all dressed in re-e-ed  God's gonna trouble the wa-ater  It
+               | ve   d  | c# c# | c c | vb vb |
-                                      fingering xxx132 ----------\
+               |  C  vB  | ^A ^A | D D |  G  G |
-  | - - - - - - - - | - - - - - - - - | 4 - 4 4 4 4 - - | 2 - 3 4 - - - - |
-  | - - - - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
-  | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - 3 |
-  | 3 - - 3 - - - - | 3 6 - 3 - 6 3 - | - - - - - - - - | - - - - - - - - |
-  | - 4 - - - 4 - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  look like a band that Mo-oses le-ed   God's gonna trouble the wa-ater
+  Blackbird fly |  a'  g' | ^f ve |  d   d  | ve ve |
-  | - - - - - - - - | - - - - - - - - | 4 - 4 4 4 4 - - | 2 - 3 4 - - - - |
+               | ^F  vE  |  D  C | ^Bb ^Bb |  C  C |
-  | 5 5 2 - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
-  | - - - - 3 - - - | - 3 - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - - |
- | - - - - - - - 3 | 6 - 6 3 - - - - | - - - - - - - - | - - - - - - - - |
- | - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - |
- | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-</tt>
-downminor version:
-  | - - 3 - 3 - - - | - - 3 - - - 3 - | - - 3 - 3 - - - | - - - - - - - - |
-  | - - 5 - 5 - - - | - - 5 - - - 5 - | - - 5 - 5 - 1 - | 5 - 1 - - - - - |
-  | - - 3 - 3 - - - | - - 3 - - - 3 - | 3 - - - - - - 3 | - - - 3 - - - - |
-  | - - - - - - 2 - | 2 - - - - - - - | - - 6 - 6 - - - | - - - - - 6 2 - |
-  | 4 - - - - - - 4 | - - - - 4 - - - | - - - - - - - - | - - - - - - - - |
-  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
+  Blackbird fly |  a'  g' | ^f ve |  d   d  |
- | - - 5 - 5 - - - | - - 5 - - - 5 - | - - - - - - - - | - - - - - - 5 - |
+               | ^F  vE  |  D  C | ^Bb ^Bb |
-  | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
-  | - - - - - - 2 - | 2 - - - - - - - | 2 - - - - - - - | - - - - - - - - |
-  | 4 - - - - - - 4 | - - - - 4 - - - | - - 4 4 4 4 - - | 0 - 3 4 - - - - |
-  | - - - - - - - - | - - - - - - - - | - - - - - - - 2 | - - - - - - - - |
+ Into the      |  c#  c# | c  c  | vb   c  |  d | vb'   (etc.)
+  light...     | ^A  ^A  | D  D  |  G  vA  | vB |  g
-  | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - - | 2 - 2 3 - - - - |
+               | vb   c  |  d ve |  d c# | c  c |
-  | - - - - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+               |  G  vA  | vB  C | vB ^A | D  D |
-  | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - 3 |
+</tt>
-  | 2 - - 2 - - - - | 2 6 - 2 - 6 2 - | - - - - - - - - | - - - - - - - - |
-  | - 4 - - - 4 - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+The bass often moves chromatically, landing on a scale note on the downbeat (P4, P5, M6) and a non-scale passing tone on the backbeat (A4/d5 or m6). In general I chose the passing tone so that the step away from it is smaller than the previous step to it. Because to my ear P4 - A4 - P5 sounds better melodically than P4 - vA4 - P5.
- | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+In the 2nd line, on "broken", I would have preferred the bass to be C#. But C# is on the 4th fret, too far away. Rather than settle for vC#, I went with the rather unusual ^C#. It makes 11/8 and 11/4 with the other two voices, about as consonant as a sharp 11th can get.
- | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - - | 2 - 2 3 - - - - |
- | 5 5 1 - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+Continuing to minimize the final step, the 4th bass note is D# aka ^Eb. And the 7th and 8th notes are vEb, even though it makes a dissonant 9/7 and 18/7. And the "All your life" line has Db and veb.
- | - - - - 3 - - - | - 3 - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - - |
- | - - - - - - - 2 | 6 - 6 2 - - - - | - - - - - - - - | - - - - - - - - |
+Thus the bass melody is C ^C# D D# vE vE vEb vEb D Db C. When ascending, it has slightly sharper passing tones than when descending. It's like a microtonal version of 12edo's melodic minor melody P5 M6 M7 P8 m7 m6 P5. Unlike a more blatant microtonal melody like say vM6 ^m6 vm6 P5, this melody doesn't directly challenge one's 12-tone perceptions. Which would of course be inappropriate for a well-known Beatles song. Thus we get to "sneak in" some microtonality.
- | - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - |
- | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-</tt>
+In the 4th line, I chose an ^A bass note to make a 7/4 with the G drone. A plain A would probably be better melodically, but in the open upminor tuning I chose, it's inaccessible. The final D7sus4 chord uses plain C (i.e. 16/9) to avoid an offperfect 4th.
-=== Blackbird (Beatles) ===
+There is a mid 2nd in the bass line on "You were only waiting" (vB to ^A). And also in the "Blackbird fly" lines (^F vE) in both the high and low voices. Whereas a mid interval from the tonic (say ~2 or ~3) immediately sounds non-12-tone, these mid 2nds don't jump out at me. Another way to sneak in some microtonality!
-This charming song is a great study in 10ths! Over a constant G drone in the middle voice:
+Tab for 6-string guitar tuned low to high G ^Bb D G ^Bb D:
 <tt>
-  Blackbird...  | vb   c  |  d | vb' vb' | vb' vb' |
+  Blackbird singing in the dead of night
-               |  G  vA  | vB |  g   g  |  g   g  |
+ |  -  -  -  -  -  -  -  - |  0  -  -  - | 15  -  - 15  -  - 15  - | 15  -  - 15  -  - 15  - |
+ |  1  -  -  -  3  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  |  -  -  -  -  -  -  -  - |  1  -  -  - | 15  -  -  - 15  -  -  - | 15  -  -  - 15  -  -  - |
+ |  0  -  -  -  3  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
- Take these... | ve   g' | vf# a' |  g   g |  g   g  |
+  Take these broken wings and learn to fly
-               |  C  ^C# |  D  D# | vE  vE | vEb vEb |
+ |  3  -  -  - 15  -  -  - |  -  -  -  - 12  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - | 13  -  -  -  -  -  -  - | 15  -  - 15  -  - 15  - | 15  -  - 15  -  - 15  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  3  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  - 11  -  -  - | 12  -  -  - 14  -  -  - | 15  -  -  - 15  -  -  - | 13  -  -  - 13  -  -  - |
- All your life | vf#  g' | ve ve | veb veb |
+  All your life
-               |  D   Db |  C  C |  C   C  |
+ |  -  -  -  -  -  -  -  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+ | 13  -  -  - 15  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
-  You were only |  d   d  | c# c# | c c | vb vb |
+  |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
-  waiting...   | vB  vB  | ^A ^A | D D |  G  G |
+  |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  |  -  -  -  -  -  -  -  - |  3  -  -  -  3  -  -  - |  3  -  -  -  3  -  -  - |
+ | 12  -  -  - 10  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
-               | ve   d  | c# c# | c c | vb vb |
+  You were only waiting for this moment to arrive
-               |  C  vB  | ^A ^A | D D |  G  G |
+ |  0  -  -  0  -  -  0  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+ |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |
+ |  1  -  -  -  1  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
-  Blackbird fly |  a'  g' | ^f ve |  d   d  | ve ve |
+  |  3  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
-               | ^F  vE  |  D  C | ^Bb ^Bb |  C  C |
+ |  -  -  -  -  -  -  -  - |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |
+ |  3  -  -  -  1  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
-  Blackbird fly |  a'  g' | ^f ve |  d   d  |
+  (2nd verse, "sunken eyes")
-               | ^F  vE  |  D  C | ^Bb ^Bb |
-  Into the      |  c#  c# | c  c  | vb   c  |  d | vb'   (etc.)
+  Blackbird fly
-  light...     | ^A  ^A  | D  D  |  G  vA  | vB |  g
+ | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  0  -  -  0  - |  3  -  -  3  -  -  3  - |
+ |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+  |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  -  0  -  -  - |  3  -  -  -  3  -  -  - |
+ |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
-               | vb   c  |  d ve |  d c# | c  c |
+  Blackbird fly
-               |  G  vA  | vB  C | vB ^A | D  D |
+ | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  0  -  -  0  - |
-</tt>
+ |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  -  0  -  -  - |
+ |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+   Into the light of the dark black night
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  - | 15
+ |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  -  3  -  -  - |  -  -  -  - |  -
+ |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  -  0  - |  -  -  0  - |  -     etc.
+ |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  - |  -
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  1  -  -  - | 15
+ |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  3  -  -  - |  -  -  -  - |  -
+ |  -  -  -  -  -  -  -  - |  0  -  -  -  3  -  -  - |  0  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  1  -  -  -  3  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  5  -  -  - |  3  -  -  3  -  -  3  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
+ |  -  -  -  -  -  -  -  - |  1  -  -  -  3  -  -  - |  1  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  0  -  -  -  3  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |
+</tt>
+=== Nowhere (Angela Mair) ===
+Source: https://www.youtube.com/watch?v=5-49jLxcCJQ <br>
+edo score and tab available at https://bergmann-edition.com/products/angela-mair-nowhere
+A recent composition (Feb 2023). Arranged for an 8-string Kite guitar with extra 3.5, 6.5 and 8.5 frets. In the tab, the extra frets are named d, g and i. The open strings are tuned vC# E A vC# E vG# B E.
+Bars 5-7 are tricky. In 12edo, the chords are F#m, B and A. Here bar 5 has vF#^m, which suggests bar 6 should have vBv. But that harms the bass melody in bars 6 and 7, which in 12edo is D# to E. A vBv chord would make vvD# to E, a step of a mid 2nd, too wide.
-The bass often moves chromatically, landing on a scale note on the downbeat (P4, P5, M6) and a non-scale passing tone on the backbeat (A4/d5 or m6). In general I chose the passing tone so that the step away from it is smaller than the previous step to it. Because to my ear P4 - A4 - P5 sounds better melodically than P4 - vA4 - P5.
+Using a vB^ chord would make that step a minor 2nd, quite nice. But the chord's voicing precludes that. The lowest voice is the 3rd and the top voice is the root. An upmajor chord results in the interval between them being a vm13, only 59¢ away from a P12 = 3/1. Thus the 3rd harmonic of the lowest note clashes with the fundamental of the highest note rather strongly.
-In the 2nd line, on "broken", I would have preferred the bass to be C#. But C# is on the 4th fret, too far away. Rather than settle for vC#, I went with the rather unusual ^C#. It makes 11/8 and 11/4 with the other two voices, about as consonant as a sharp 11th can get.
+So instead bar 6 has a Bv chord, making an upminor 2nd step. Unfortunately this causes vF# in bar 5 to shift to F# in bar 6. To hide the pitch shift, I took the liberty of lowering the second note in bar 5 from vF# to vC#. (The first note needn't be altered because that vF# and bar 6's F# are in different octaves, and the pitch shift is much less noticeable.) I find lowering that 2nd note also fills out the harmony better. I made this same change in bar 13 even though there is no pitch shift to hide, for consistency.
-Continuing to minimize the final step, the 4th bass note is D# aka ^Eb. And the 7th and 8th notes are vEb, even though it makes a dissonant 9/7 and 18/7. And the "All your life" line has Db and veb.
+In bar 14, the chords are vB^m and Ev. A pitch shift from vB to B is avoided because the Ev chord fortunately lacks a 5th.
-Thus the bass melody is C ^C# D D# vE vE vEb vEb D Db C. When ascending, it has slightly sharper passing tones than when descending. It's like a microtonal version of 12edo's melodic minor melody P5 M6 M7 P8 m7 m6 P5. Unlike a more blatant microtonal melody like say vM6 ^m6 vm6 P5, this melody doesn't directly challenge one's 12-tone perceptions. Which would of course be inappropriate for a well-known Beatles song. Thus we get to "sneak in" some microtonality.
+In bar 19, I used a vC#v^7 chord, 0xxx100x. Another possibility is a vC#v,7 chord, 0xxgg5xx. I feel a v7 chord would not fit the genre.
-In the 4th line, I chose an ^A bass note to make a 7/4 with the G drone. A plain A would probably be better melodically, but in the open upminor tuning I chose, it's inaccessible. The final D7sus4 chord uses plain C (i.e. 16/9) to avoid an offperfect 4th.
+In bar 28, I modified the rhythm of the top voice purely so that it would fit into the tab's grid of 16th notes. What I wrote as an 8th note followed by two 16th notes should actually be played as a dotted eighth note followed by two 32nd notes.
-There is a mid 2nd in the bass line on "You were only waiting" (vB to ^A). And also in the "Blackbird fly" lines (^F vE) in both the high and low voices. Whereas a mid interval from the tonic (say ~2 or ~3) immediately sounds non-12-tone, these mid 2nds don't jump out at me. Another way to sneak in some microtonality!
+The tab shows the A and B parts. See the source video for the full arrangement and performance nuances. For example, slightly accenting the 2nd note in bar 15.
-Tab for 6-string guitar tuned low to high G ^Bb D G ^Bb D:
 <tt>
-  Blackbird singing in the dead of night
+ A part
-  |  -  -  -  -  -  -  -  - |  0  -  -  - | 15  -  - 15  -  - 15  - | 15  -  - 15  -  - 15  - |
+  | - - - - - - - - | 0 - - - - - 0 - | 3 - - - 3 - 0 - | - - - - - - - - |
-  |  1  -  -  -  3  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - 3 - | - - - - - - - - | - - - - - - - - | 3 - - - - - - - |
-  |  -  -  0  -  -  -  0  - |  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+  | 2 - - - 2 - - - | - - 0 - - - - - | - - 2 - - - - - | - - - - 2 - - - |
-  |  -  -  -  -  -  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - 0 - - - - - | - - - - 0 - - - | - - - - - - - - | - - 0 - - - - - |
-  |  -  -  -  -  -  -  -  - |  1  -  -  - | 15  -  -  - 15  -  -  - | 15  -  -  - 15  -  -  - |
+  | - - - - - - - - | 0 - - - - - - - | 2 - - - - - - - | - - - - - - - - |
-  |  0  -  -  -  3  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | 0 - - - - - - - | - - - - - - - - | - - - - - - - - | 0 - - - - - - - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - g - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+  | - - - - - - 3 - | 0 - - - - - 0 - | - - - - - - - - | - - - - - - 0 - |
+  | 2 - - - 2 - - - | - - - - - - - - | 2 - - - - - 2 - | 0 - - - 0 2 - - |
+  | - - - - - - - - | - - - - d - - - | - - - - 0 - - - | - - - - - - - - |
+  | - - 0 - - - - - | - - - - - - - - | - - 0 - - - - - | - - - - - - - - |
+  | - - - - - - - - | - - d - - - - - | - - - - - - - - | - - d - - - - - |
+  | 3 - - - - - - - | - - - - - - - - | 0 - - - - - - - | 0 - - - - - - - |
+  | - - - - - - - - | d - - - - - - - | - - - - - - - - | - - - - - - - - |
+  | - - - - - - - - | 0 - - - - - 0 - | 3 - - - 3 - 0 - | - - - - - - - - |
+  | - - - - - 0 3 - | - - - - - - - - | - - - - - - - - | 3 - - - - - - - |
+  | 2 - - - 2 - - - | - - 0 - - - - - | - - 2 - - - - - | - - - - 2 - - - |
+  | - - 0 - - - - - | - - - - 0 - - - | - - - - - - - - | - - 0 - - - - - |
+  | - - - - - - - - | 0 - - - - - - - | 2 - - - - - - - | - - - - - - - - |
+  | 0 - - - - - - - | - - - - - - - - | - - - - - - - - | 0 - - - - - - - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - g - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  Take these broken wings and learn to fly
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  |  3  -  -  - 15  -  -  - |  -  -  -  - 12  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - 3 - | 5 - 3 - - - - - | - - - - - - - - | - - - - - - - - |
-  |  -  -  -  -  -  -  -  - | 13  -  -  -  -  -  -  - | 15  -  - 15  -  - 15  - | 15  -  - 15  -  - 15  - |
+  | 2 - - - 2 - - - | - - - - 2 - 0 - | 2 - - - - - 2 - | - - - - - - - - |
-  |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+  | - - - - - - - - | 3 - - - - - - - | - - - - 0 - - - | - - - - - - - - |
-  |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - 0 - - - - - | - - - - 0 - - - | - - 2 - - - - - | 0 - - - - - - - |
-  |  3  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - - - | 3 - - - - - - - | 0 - - - - - - - | - - - - - - - - |
-  |  -  -  -  - 11  -  -  - | 12  -  -  - 14  -  -  - | 15  -  -  - 15  -  -  - | 13  -  -  - 13  -  -  - |
+  | 3 - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+  | - - - - - - - - | - - - - 0 - - - | - - - - - - - - | - - - - - - - - |
-  All your life
+ B part
-  |  -  -  -  -  -  -  -  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  | 13  -  -  - 15  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - 3 - | 0 - - - - - - - | - - - - - - 0 - | - - - - - - - - |
-  |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+  | - - - - 2 - - - | - - 2 - 0 - - - | - - - - 0 - - - | 2 - 0 - - - - - |
-  |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - 3 - - - - - | - - - - - - 3 - | - - 1 - - - - - | - - - - 3 - 0 - |
-  |  -  -  -  -  -  -  -  - |  3  -  -  -  3  -  -  - |  3  -  -  -  3  -  -  - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  | 12  -  -  - 10  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+  | 3 - - - - - - - | g - - - - - - - | - - - - - - - - | 3 - - - 0 - - - |
+  | - - - - - - - - | - - - - - - - - | 0 - - - - - - - | - - - - - - - - |
-  You were only waiting for this moment to arrive
+  | - - - - - - - - | - - - - - - - - | - - - - 0 - - - | i - g - 3 - 0 - |
-  |  0  -  -  0  -  -  0  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - 3 - | 0 - - - - - - - | 3 - - - - - - - | - - - - - - - - |
-  |  -  -  -  -  -  -  -  - |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+  | - - - - 2 - - - | - - 2 - 0 - - - | - - - - - - - - | - - - - - - - - |
-  |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+  | - - 3 - - - - - | - - - - - - 0 - | - - 0 - - - 0 - | - - - - 0 - - - |
-  |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  |  1  -  -  -  1  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - - - | - - - - - - - - | 0 - - - - - - - | - - - - - - - - |
-  |  -  -  -  -  -  -  -  - |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
+  | - - - - - - - - | 0 - - - - - - - | - - - - g - - - | 3 - - - - - - - |
+  | 2 - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  |  3  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
-  |  -  -  -  -  -  -  -  - |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+  | - - - - - - 3 - | 0 - - - - - - - | - - - - - - - - | - - - - - - - - |
-  |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+  | - - - - 2 - - - | - - 2 - 0 - - - | - - - - - - 0 - | 0 - 2 0 - - - - |
-  |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - 3 - - - - - | - - - - - - 0 - | - - - - 0 - - - | 0 - - - 3 - - - |
-  |  3  -  -  -  1  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  | - - - - - - - - | - - - - - - - - | - - 0 - - - - - | - - - - 2 - - - |
-  |  -  -  -  -  -  -  -  - |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
+  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+  | - - - - - - - - | 0 - - - - - - - | - - - - - - - - | - - - - - - - - |
+  | 2 - - - - - - - | - - - - - - - - | 0 - - - - - - - | 2 - - - - - - - |
+  | - - - - - - - - | - - - - - - - - |
+  | - - - - - - 5 - | 3 - 0 - - - - - |
+  | - - - - 5 - - - | - - - - 2 - 0 - |
+  | - - 3 - - - - - | 0 - - - - - - - |
+  | - - - - - - - - | - - - - - - - - |
+  | 3 - - - - - - - | - - - - - - - - |
+  | - - - - - - - - | 0 - - - - - - - |
+  | - - - - - - - - | - - - - - - - - |
+</tt>
+== Tetradic Songs ==
+=== I Will (The Beatles) ===
+This song pumps the [[81/80|Meantone comma]] very rapidly. The Gvm7 chords could instead be G^m7 chords. Note the ^4 root movement from vD to G. Alternatively, a plain-D root could be used. But using a down-D root links the D chord more strongly to the F chord. This makes the first 4 chords of the song feel like only two: Fv6 and C9.
+  Fv     vD^m7    Gvm7    Cv7    |    Fv     vD^m     vA^m
+                                |
+  Fv7    Bbv      Cv7     vD^m   |    Fv     Bbv      Cv7
+                                |
+  Fv     vD^m7    Gvm7    Cv7    |
- (2nd verse, "sunken eyes")
-  Blackbird fly
+  Bbv    vA^m    vD^m7    /      |    Gvm7    Cv7     Fv      Fv7
- | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  0  -  -  0  - |  3  -  -  3  -  -  3  - |
+                                |
- |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  Bbv    vA^m    vD^m7    /      |    Gv7      /      Cv7      /
-  |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+</tt>
- |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
- | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  -  0  -  -  - |  3  -  -  -  3  -  -  - |
- |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+=== Love Is A Losing Game (Amy Winehouse) ===
+Source for the chords: https://www.youtube.com/watch?v=l3NN5jywLBs
-  Blackbird fly
+<tt>
- | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  0  -  -  0  - |
+  intro:  F^d7
-  |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
-  |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |
+  main:   CvM7     Fv/G     F^m7     CvM7  (2x)
-  |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
-  | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  -  0  -  -  - |
+         vA^m7    vD^m7    F^m7     CvM7
- |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
-  Into the light of the dark black night
+         CvM7     Fv/G     F^m7     CvM7
- |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  - | 15
- |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  -  3  -  -  - |  -  -  -  - |  -
- |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  -  0  - |  -  -  0  - |  -     etc.
- |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  - |  -
- |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  1  -  -  - | 15
- |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  3  -  -  - |  -  -  -  - |  -
- |  -  -  -  -  -  -  -  - |  0  -  -  -  3  -  -  - |  0  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+         F^d7     G#vd7
- |  1  -  -  -  3  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  5  -  -  - |  3  -  -  3  -  -  3  - |
- |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |
- |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
- |  -  -  -  -  -  -  -  - |  1  -  -  -  3  -  -  - |  1  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
- |  0  -  -  -  3  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |
 </tt>
-== Tetradic Songs ==
+<tt>
+  intro:  IV^d7
-=== I Will (The Beatles) ===
-This song pumps the [[81/80|Meantone comma]] very rapidly. The Gvm7 chords could instead be G^m7 chords. Note the ^4 root movement from vD to G. Alternatively, a plain-D root could be used. But using a down-D root links the D chord more strongly to the F chord. This makes the first 4 chords of the song feel like only two: Fv6 and C9.
+  main:   IvM7     IVv/2    IV^m7    IvM7  (2x)
- Fv     vD^m7    Gvm7    Cv7    |    Fv     vD^m     vA^m
-                                |
- Fv7    Bbv      Cv7     vD^m   |    Fv     Bbv      Cv7
-                                |
- Fv     vD^m7    Gvm7    Cv7    |
- Bbv    vA^m    vD^m7    /      |    Gvm7    Cv7     Fv      Fv7
-                                |
- Bbv    vA^m    vD^m7    /      |    Gv7      /      Cv7      /
-</tt>
-=== Love Is A Losing Game (Amy Winehouse) ===
-Source for the chords: https://www.youtube.com/watch?v=l3NN5jywLBs
-<tt>
- intro:  F^d7
- main:   CvM7     Fv/G     F^m7     CvM7  (2x)
-         vA^m7    vD^m7    F^m7     CvM7
-         CvM7     Fv/G     F^m7     CvM7
-         F^d7     G#vd7
-</tt>
-<tt>
-  intro:  IV^d7
-  main:   IvM7     IVv/2    IV^m7    IvM7  (2x)
           vVI^m7   vII^m7   IV^m7    IvM7
@@ Line 1,236: / Line 1,334: @@
 === Manhattan Island Serenade (Leon Russell) ===
+Source: https://www.youtube.com/watch?v=ytZkLzi-0W8
 This particular translation adds 7ths to all the chords and features ^7 and ^9 chords resolving to ^m7 and v7 chords. The key is upminor, even though downminor is usually better than upminor for bluesy songs. But this song modulates to the relative major, and starting in downminor would lead to a dissonant upmajor key.
-<tt>
    E^m7     /     A^m7     /     |  B4     B^7    E^m7     /
                                  |
@@ Line 1,732: / Line 1,832: @@
 The last chord of the 3rd quarter of the song is the most "away" chord, so it seemed natural to put a subharmonic chord there. The extra dissonance gives the song a little boost. Since I didn't want the tonic to shift, the only other alternatives were ^IIv7 and IIv,7. The only tricky part was how to tune the chord's 6th. Ideally it would be a M7 to match the chord's 3rd, but for playability and to avoid a pitch shift I used a vM7. It makes a wolf 11th with the bass note (21/8 vs. 8/3) and even worse a wolf 6th with the root (27/16 vs 12/7). So perhaps bend it up a bit?
-== Barbershop tags ==
+=== The Pink Panther Theme (Henri Mancini) ===
-These are mostly translations of traditional arrangements, as opposed to re-arrangements. Thus the individual parts are changed only by adding in ups and downs.
+Source: https://www.youtube.com/watch?v=th1WRzHfooI
-Barbershop often uses very close voicings of a major 2nd. When this 2nd translates to a vM2 or an ^M2, both notes occur on the same string. The tab resolves the issue by using an open string, or using [[wikipedia:Tapping|tapping]]. Even if a note-for-note guitar performance of the tag is awkward, the tabs are still valuable for conveying to the singers subtle microtonal nuances.
+Recording: https://www.tallkite.com/music/PinkPanther.mp3
-See also Aaron Wolf's [[Kite Guitar Translations by Aaron Wolf#My%20old%20Kentucky%20Home%20.28barbershop%20tag.29|My old Kentucky Home]] translation.
+The 59¢ steps really bring this melody to life!
-=== Please Don't Sell My Daddy No More Wine (Tom Lane) ===
+Chords
+<tt>
+ intro  E^m   /   /   /   |   /   /   /   /
+        E^m   /   /   /   |   /   /   /   /
+        E^m   /   /   /   |   /   /   /   /
+        ^Cv7  /   /   /   |   /   /   /   /
+        E^m   /   /   /   |   /   /   /   /
+        ^Fv7  /   /   /   |   /   /   /   /
+        E^m   /   /   /   |   /   /   /   /
+        ^Cv7  /   /   /   |   /   /   /   /
+ break  E^m   .   .   .   |  ^Cv7 .   Bv7 .
+        E^m   /   /   /   |  ^Cv7 /   /   /
+        E^m   /   /   /   |   /   .   E^mvM7,9
+</tt>
+Lead into the chords with a fretwise bass melody:
+<tt>
+ ^D vD# ^D# | E...    D vvD Db | ^C...   ^D vD# ^D# | E...  ^D# E ^^E | ^F...
+</tt>
+But leading into the E^m just before the break, walk up with the entire chord: ^D^m vD#^m ^D#^m E^m
+<tt>
+ and   xx2113
+ four  xx3224
+ and   xx4335
+ one   xx5446
+</tt>
+The final chord can be simplified to 18 17 17 17 x x or even x x 31 31 31 x.
+Melody, E' means high E:
+<tt>
+ ^D# | E         .     vG ^G         .     ^D# |
+     | E     vG ^G     vC  B      E ^G     vvB |
+     | Bb----------------------A ^G  E ^D  E---|
+     | .         .         .         .     ^D# |
+     | E         .     vG ^G         .     ^D# |
+     | E     vG ^G     vC  B     ^G  B     vvE |
+     | Eb--------------------------------------|
+     | ---------------------         .     ^D# |
+     | E         .     vG ^G         .     ^D# |
+     | E     vG ^G     vC  B      E ^G     vvB |
+     | Bb----------------------A ^G  E ^D  E---|
+     | .         .         .         .         |
+     | .         E'    ^D  B      A ^G     E   |
+     |^^A A    ^^A A     ^^A A     ^^A A       |
+     | ^G  E ^D  E      E----        .         |
+     | ^G  E ^D  E      E----        .         |
+     | ^G  E ^D  E      E----------------------|
+     | ---------------------         .         |
+</tt>
+Bass line, scale runs E up to Eb, E' means high E, ^F' means high ^F, and ^G' means high ^G.
+  E chord:  |  E'    E    ^G    B ^D | -     -     -     -  |
+ ^C chord:  | ^C    ^G    Bb   ^D  E'| -     -     -     -  |
+  E chord:  |  E'    E    ^G    B ^D | -     -     -     -  |
+ ^F chord:  | ^F'    Eb   ^C    A ^F | -     -     -     -  |
+  E chord:  |  E'    E    ^G    B ^D | -     -     -     -  |
+ ^C chord:  | ^C    ^G    Bb   ^D  E'| -     -     -     -  |
+    break:  |  E    .     .     .    | ^C    .     B     .  |
+            |  E    ^G  B -     -    | ^C    E' ^G'-     -  |
+            |  E'    E    ^G    B ^D | -     -     -     -  |
+</tt>
+The bass line can optionally lead into the chords fretwise along with the rhythm guitar, especially just before the break.
+== Barbershop tags ==
+These are mostly translations of traditional arrangements, as opposed to re-arrangements. Thus the individual parts are changed only by adding in ups and downs.
+Barbershop often uses very close voicings of a major 2nd. When this 2nd translates to a vM2 or an ^M2, both notes occur on the same string. The tab resolves the issue by using an open string, or using [[wikipedia:Tapping|tapping]]. Even if a note-for-note guitar performance of the tag is awkward, the tabs are still valuable for conveying to the singers subtle microtonal nuances.
+See also Aaron Wolf's [[Kite Guitar translations by Aaron Wolf#My%20old%20Kentucky%20Home%20.28barbershop%20tag.29|My old Kentucky Home]] translation.
+=== Please Don't Sell My Daddy No More Wine (Tom Lane) ===
 A rather conventional country song from 1964 that is the basis for a very popular barbershop tag. The tag is full of dom7 chords tuned 4:5:6:7. Very natural to play on the Kite guitar and very easy to translate, except that one of the chords has a hi37 voicing that requires 7 strings.
@@ Line 1,956: / Line 2,131: @@
 |hi3add8
 |}
+A more JI-oriented version using [[color notation]]:
-=== When It's Sleepy Time Down South ===
-Source: https://www.barbershoptags.com/tag-4-Sleepytime-Down-South
-The bass and baritone's P8 is the lead and tenor's P1. The "-py" chord has a close vM2 in it, and thus a tapped note. Alternatively, the baritone note could disappear momentarily, making - - 11 13 13 -.
 {| class="wikitable"
+|+
 ! rowspan="2" |Lyrics
-! colspan="4" |vocal parts
+! colspan="8" |vocal parts
-! colspan="4" |[[41edo solfege|solfege]]
+! colspan="4" |[[41edo solfege]]
-! colspan="2" |6- string guitar tab
+! colspan="3" rowspan="2" |chords and
-! colspan="2" rowspan="2" |chords and
 their [[Hi-lo notation|voicings]]
-! colspan="2" rowspan="2" |chord
-homonyms
 |-
-!Bass
+! colspan="2" |Bass
-!Bari
+! colspan="2" |Bari
-!Lead
+! colspan="2" |Lead
-!Tenor
+! colspan="2" |Tenor
 !Bs
 !Br
 !Ld
 !Tn
-![[KDF Fret Numbering|KDF frets]]
-!frets
 |-
-|When
+|Please Don't Give My
+|P1
+|w1
 |P8
-|P8
+|w8
-|P1
+|P5
-|P1
+|w5
+|vM3
+|y3
+|Da
 |↑Da
-|↑Da
+|Sa
-|Da
+|Mo
-|Da
+|Iv
-| - - - ,,,1 - -
+|Iy
-|  - - - 13 - -
+|hi3add8
-|I5no5
-|close
-| colspan="2" rowspan="3" |
 |-
-|It's
+|Daddy No More
-|vM7
+|P4
-|vM7
+|w4
-|M2
+|"
-|M2
+|"
-|To
+|vM6
-|To
+|y6
-|Ra
+|vm3
-|Ra
+|z3
-| - - - ,,3 ,,2 -
+|Fa
-| - - - 11 10 -
+|"
-|VvnoR
+|Lo
+|No
+|IVv7
+|IVh7
 |close
 |-
-|Slee-
+|Wine, No More
-|vM6
-|vM6
 |P1
+|w1
+|"
+|"
+|P5
+|w5
 |vM3
-|Lo
+|y3
-|Lo
 |Da
+|"
+|Sa
 |Mo
-| - - ,,,2 ,,,1 ,,,1 -
+|Iv
-| - - 14 13 13 -
+|Iy
-|vVI^m
+|hi3add8
-|close
 |-
-| -py
+|Wine
-|P5
+|↓M6
-|"
+|↓w6
-|"
+|vA8
-|"
+|y8
-|Sa
+|M3
+|Lw3
+|v5
+|z5
+|↓La
+|↑Fra
+|Ma
+|So
+|VIv7
+|VIh7
+|hi37
+|-
+|He May Be No
+|M2
+|w2
+|v8
+|z8
+|M6
+|w6
+|vA4
+|y4
+|Ra
+|↑Do
+|La
+|Po
+|IIv7
+|IIh7
+|hi3
+|-
+|Good, But
+|P5
+|w5
+|M9
+|w9
+|vM7
+|y7
+|v4
+|z4
+|Sa
+|↑Ra
+|To
+|Fo
+|Vv7
+|Vh7
+|close
+|-
+|He's
+|M2
+|w2
+|v8
+|z8
+|M6
+|w6
 |"
 |"
+|Ra
+|↑Do
+|La
 |"
-|⸰⸰⸰0 - ,,,2 ,,,1 ,,,1 -
+|IIvm7
-|24 - 14 13 13 -
+|IIz7
-|vVI^m7
+|hi3
-|lo7
-|Iv6
-|lo56
 |-
-| rowspan="2" |Time
+|All
-| rowspan="2" |A4
+|P5
-| rowspan="2" |"
+|w5
-| rowspan="2" |"
+|M9
+|w9
+|vM7
+|y7
+|"
 |"
-| rowspan="2" |Pa
+|Sa
-| rowspan="2" |"
+|↑Ra
-| rowspan="2" |"
+|To
 |"
-| - ⸰0 ,,,2 ,,,1 ,,,1 -
+|Vv7
-| - 16 14 13 13 -
+|Vh7
-|#IVvdv7
-|close
-|vII^9noR
 |close
 |-
-|vM2
+|Mine
-|Ro
+|P1
-| - ⸰0 ,,,2 ⸰0 - 0
+|w2
-| - 16 14 16 - 0
+|P5
-|vII^7
+|w5
-|hiR
+| rowspan="6" |P8
-| colspan="2" rowspan="2" |
+| rowspan="6" |w8
-|-
-| rowspan="2" |Down
-| rowspan="2" |P4
-|"
-| rowspan="2" |"
-|vm3
-| rowspan="2" |Fa
-|"
-| rowspan="2" |"
-|No
-| - ,,,2 ,,,2 ,,,1 ,,3 -
-| - 14 14 13 11 -
-|IVv7
-|close
-|-
-|vm6
-|vM2
-|Flo
-|Ro
-| - ,,,2 ,,,0 ⸰0 - 0
-| - 14 12 16 - 0
-|vII^d^7
-|hiR
-|bVIIv9noR
-|hi3
-|-
-|South
-|P1
-|P5
-|"
 |vM3
+|y3
 |Da
 |Sa
-|"
+| rowspan="6" |Da
 |Mo
-|,,,0 - ,,3 ,,,1 ,,,1 -
-|12 - 11 13 13 -
 |Iv
+|Ih7
+|hi3add8
+|-
+| rowspan="3" |All
+|P4
+|w4
+| rowspan="3" |vM6
+| rowspan="3" |y6
+| rowspan="3" |vm3
+| rowspan="3" |z3
+|Fa
+| rowspan="3" |Lo
+| rowspan="3" |No
+|IVv7
+|IVh7
+|close
+|-
+|P5
+|w5
+|Sa
+|IVv9noR
+|IVh9noR
+|lo9
+|-
+|P4
+|w4
+|Fa
+|IVv7
+|IVh7
+|close
+|-
+| rowspan="2" |Mine
+| rowspan="2" |P1
+| rowspan="2" |w1
+|"
+|y6
+| rowspan="2" |vM3
+| rowspan="2" |y3
+| rowspan="2" |Da
+|"
+| rowspan="2" |Mo
+|Iv6no5
+|Iy6no5
+|hi3add8
+|-
+|P5
+|w5
+|Sa
+|Iv
+|Iy
 |hi3add8
-| colspan="2" |
 |}
-Barbershop generally uses mostly harmonic and stacked chords, and rarely uses subharmonic chords. But the first "time" chord is subharmonic, voiced 7/(7:6:5:4). It works here because the voicing makes all the intervals be 5-over or 7-over, and none are 5-under or 7-under. in fact, the harmonic alternative to vdv7 aka ^9noR would be ^d^7 aka v9noR, voiced 5:6:7:9. Comparing the 6 intervals in each tetrad, both have 3/2, 6/5, 7/6 and 7/5. The subharmonic chord has 5/4 and 7/4, and the harmonic chord has 9/7 and 9/5. So i<u>n this voicing</u>, the subharmonic chord is actually smoother!
-What about other voicings? In a lo3 voicing, 14/(12:7:5:4) has larger ratios than 3:5:7:9, and thus is inferior to it. But in a hi3 voicing, 7/(7:5:4:3) is far superior to 5:7:9:12. The math works like this: in 5:6:7:9, to raise a note up an octave, double its number. To lower it, if it's even, halve it. If not, double all the other numbers. Then put the numbers back in ascending order. Thus the hiR voicing is 5:6:7:9 --> 10:6:7:9 --> 6:7:9:10. But in 7/(7:6:5:4), it's the opposite: lower a note by doubling it, and raise a note by halving it (or doubling the others). To find the ratios, just pair off the 4 numbers into 6 pairs and factor out common factors. The smaller the ratios, the sweeter the chord. One can use this math to choose how to tune the chord, as we are doing here, or one can use it to arrange the tag for maximum vertical consonance, which generally requires an [[Odd limit|all-odd or nearly all-odd voicing]].
+=== When It's Sleepy Time Down South ===
+Source: https://www.barbershoptags.com/tag-4-Sleepytime-Down-South
-The subharmonic chord has an advantage not just vertically (harmonic) but also horizontally (melodic). In the previous chord, the baritone, lead and tenor make an upminor triad in root position. They hold their notes into this chord, and only the bass moves. Using the subharmonic chord lets them keep this same upminor triad, but the harmonic chord would force them into a downminor triad. The lead would have to fall by a full fret, or the bari and tenor would rise by a full fret, or the lead would fall by a half-fret with the others rising by a half-fret. The first two options would sound very jarring. The final option would spoil the simplicity of the steady post. Thus the first "time" chord <u>must</u> be subharmonic.
+The bass and baritone's P8 is the lead and tenor's P1. The "-py" chord has a close vM2 in it, and thus a tapped note. Alternatively, the baritone note could disappear momentarily, making - - 11 13 13 -.
-The second "time" chord is also subharmonic, but the advantage over the harmonic one is far less: 14/(14:12:10:9) vs. 5:6:7:8. Four of the ratios are the same, and 10/9 and 14/9 would become 8/7 and 8/5. Again, -over intervals would become -under, but the integer limit of both ratios would decrease. Furthermore, a wider 2nd is generally more consonant than a narrow one. And 14/9 is a little too close to 3/2 to be very consonant. The 3rd harmonic of the bass's voice is only ~60¢ away from the 2nd harmonic of the tenor's voice. All in all, the harmonic chord is more consonant, despite its -under intervals.
-I chose to use the subharmonic chord for melodic simplicity. It allows the baritone, lead and tenor to be rock-steady during their posts. The harmonic dissonance can be lessened by not holding the chord as long. Aaron Wolf has proposed using the more consonant harmonic chord, with vII^7 becoming ^IIv7. He has the baritone move upwards by a full fret from the previous chord, from vM6 to ^M6. However it makes a less coherent scale, as the scale degrees are no longer plain or downward, but now also upward. Thus the tag gains vertical consonance but loses horizontal consonance. Since barbershop seems to prioritize the former over the latter, barbershoppers would probably prefer this version. Changes are '''bolded'''.
 {| class="wikitable"
 ! rowspan="2" |Lyrics
@@ Line 2,147: / Line 2,388: @@
 |Da
 | - - - ,,,1 - -
-| - - - 13 - -
+|  - - - 13 - -
 |I5no5
 |close
@@ Line 2,198: / Line 2,439: @@
 | rowspan="2" |Time
 | rowspan="2" |A4
-|"
+| rowspan="2" |"
 | rowspan="2" |"
 |"
 | rowspan="2" |Pa
-|"
+| rowspan="2" |"
 | rowspan="2" |"
 |"
@@ Line 2,212: / Line 2,453: @@
 |close
 |-
-|'''^M6'''
+|vM2
-|'''^M2'''
+|Ro
-|'''Lu'''
+| - ⸰0 ,,,2 ⸰0 - 0
-|'''Ru'''
+| - 16 14 16 - 0
-| - ⸰0 ''',,,3 ⸰1''' - 0
+|vII^7
-| - 16 '''15''' '''17''' - 0
-|'''^IIv7'''
 |hiR
 | colspan="2" rowspan="2" |
@@ Line 2,224: / Line 2,463: @@
 | rowspan="2" |Down
 | rowspan="2" |P4
-|vM6
+|"
 | rowspan="2" |"
 |vm3
@@ Line 2,262: / Line 2,501: @@
 | colspan="2" |
 |}
+Barbershop generally uses mostly harmonic and stacked chords, and rarely uses subharmonic chords. But the first "time" chord is subharmonic, voiced 7:6:5:4. It works here because the voicing makes all the intervals be 5-over or 7-over, and none are 5-under or 7-under. in fact, the harmonic alternative to vdv7 aka ^9noR would be ^d^7 aka v9noR, voiced 5:6:7:9. Comparing the 6 intervals in each tetrad, both have 3/2, 6/5, 7/6 and 7/5. The subharmonic chord has 5/4 and 7/4, and the harmonic chord has 9/7 and 9/5. So i<u>n this voicing</u>, the subharmonic chord is in theory actually smoother!
+What about other voicings? In a lo3 voicing, 12:7:5:4 has larger ratios than 3:5:7:9, and thus is inferior to it. But in a hi3 voicing, 7:5:4:3 is far superior to 5:7:9:12. The math works like this: in 5:6:7:9, to raise a note up an octave, double its number. To lower it, if it's even, halve it. If not, double all the other numbers. Then put the numbers back in ascending order. Thus the hiR voicing is 5:6:7:9 --> 10:6:7:9 --> 6:7:9:10. But in 7:6:5:4, it's the opposite: lower a note by doubling it, and raise a note by halving it (or doubling the others). To find the ratios, just pair off the 4 numbers into 6 pairs and factor out common factors. The smaller the ratios, the sweeter the chord. One can use this math to choose how to tune the chord, as we are doing here, or one can use it to arrange the tag for maximum vertical consonance, which generally requires an [[Odd limit|all-odd or nearly all-odd voicing]].
-=== Way Down South ===
+The subharmonic chord has an advantage not just vertically (harmonic) but also horizontally (melodic). In the previous chord, the baritone, lead and tenor make an upminor triad in root position. They hold their notes into this chord, and only the bass moves. Using the subharmonic chord lets them keep this same upminor triad, but the harmonic chord would force them into a downminor triad. The lead would have to fall by a full fret, or the bari and tenor would rise by a full fret, or the lead would fall by a half-fret with the others rising by a half-fret. The first two options would sound very jarring. The final option would spoil the simplicity of the steady post. Thus the first "time" chord <u>must</u> be subharmonic.
-Source: https://www.barbershoptags.com/tag-10-Way-Down-South
+The second "time" chord is also subharmonic, but the advantage over the harmonic one is far less: 14:12:10:9 vs. 5:6:7:8. Four of the ratios are the same, and 10/9 and 14/9 would become 8/7 and 8/5. Again, -over intervals would become -under, but the integer limit of both ratios would decrease. Furthermore, a wider 2nd is generally more consonant than a narrow one. And 14/9 is a little too close to 3/2 to be very consonant. The 3rd harmonic of the bass's voice is only ~60¢ away from the 2nd harmonic of the tenor's voice. All in all, the harmonic chord is more consonant, despite its -under intervals.
-The bass and baritone's P8 is the lead and tenor's P1. The opening two chords make a [[50/49|Biruyo]] comma warp. The interval between the top two voices is warped from 10/7 to 7/5. The Buruyo comma is only half a fret, so only one voice need adjust. I chose to have the lead be the one to adjust, because rising seemed more apt than falling, and because the tenor seemed more prominent. Also, the tenor would have to shift to a ~6, way out of key. The lead's vA2 note in the "down" chord is enharmonically equivalent to a m3. The very open voicings of the final three chords require 7 strings.
+I chose to use the subharmonic chord for melodic simplicity. It allows the baritone, lead and tenor to be rock-steady during their posts. The harmonic dissonance can be lessened by not holding the chord as long. Aaron Wolf has proposed using the more consonant harmonic chord, with vII^7 becoming ^IIv7. He has the baritone move upwards by a full fret from the previous chord, from vM6 to ^M6. However it makes a less coherent scale, as the scale degrees are no longer plain or downward, but now also upward. Thus the tag gains vertical consonance but loses horizontal consonance. Since barbershop seems to prioritize the former over the latter, barbershoppers might prefer his version. Changes are '''bolded'''.
 {| class="wikitable"
-|+
 ! rowspan="2" |Lyrics
 ! colspan="4" |vocal parts
 ! colspan="4" |[[41edo solfege|solfege]]
-! colspan="2" |7-string guitar tab
+! colspan="2" |6- string guitar tab
 ! colspan="2" rowspan="2" |chords and
@@ Line 2,290: / Line 2,532: @@
 !frets
 |-
-|Way
+|When
-|P4
+|P8
 |P8
-|vm3
+|P1
-|vM6
+|P1
-|Fa
+|↑Da
 |↑Da
-|No
+|Da
-|Lo
+|Da
-| - ,1 - ,0 2 ,2 -
+| - - - ,,,1 - -
-|  - 5 - 4 2 6 -
+| - - - 13 - -
-|IVv7
+|I5no5
-|hi3
+|close
-| colspan="2" rowspan="4" |
+| colspan="2" rowspan="3" |
+|-
+|It's
+|vM7
+|vM7
+|M2
+|M2
+|To
+|To
+|Ra
+|Ra
+| - - - ,,3 ,,2 -
+| - - - 11 10 -
+|VvnoR
+|close
 |-
-|Down
+|Slee-
-|A4
+|vM6
-|M7
-|vA2
 |vM6
-|Pa
+|P1
-|Ta
+|vM3
-|Na
+|Lo
 |Lo
-| - ,3 ,,1 ,,1 - ,2 -
+|Da
-|  - 7 9 9 - 6 -
+|Mo
-|VIIv7
+| - - ,,,2 ,,,1 ,,,1 -
-|lo5
+| - - 14 13 13 -
+|vVI^m
+|close
 |-
-| rowspan="11" |South
+| -py
+|P5
+|"
+|"
+|"
+|Sa
+|"
+|"
+|"
+|⸰⸰⸰0 - ,,,2 ,,,1 ,,,1 -
+|24 - 14 13 13 -
+|vVI^m7
+|lo7
-|P8
+|Iv6
-| rowspan="2" |vM10
+|lo56
-| rowspan="2" |P5
-| rowspan="11" |P8
-|↑Da
-| rowspan="2" |↑Mo
-| rowspan="2" |Sa
-| rowspan="11" |↑Da
-| - - - ,0 ,0 3 ,1
-|  - - - 4 4 3 5
-|Iv
-|add8
 |-
-|vm7
+| rowspan="2" |Time
-|Tho
+| rowspan="2" |A4
-| - - - 0 ,0 3 ,1
+|"
-|  - - - 0 4 3 5
+| rowspan="2" |"
-|Iv7
+|"
-|hiRlo7
+| rowspan="2" |Pa
-|-
+|"
-|vM6
+| rowspan="2" |"
-|vM9
+|"
-|P4
+| - ⸰0 ,,,2 ,,,1 ,,,1 -
-|Lo
+| - 16 14 13 13 -
-|↑Ro
+|#IVvdv7
-|Fa
+|close
-| - - ,1 ,3 ,2 - ,1
+|vII^9noR
-|  - - 5 7 6 - 5
+|close
-|vII^m7
-|lo5
-|IVv6
-|lo36
 |-
-|^m6
+|'''^M6'''
-|^m10
+|'''^M2'''
-|d5
+|'''Lu'''
-|Flu
+|'''Ru'''
-|↑Nu
+| - ⸰0 ''',,,3 ⸰1''' - 0
-|Sha
+| - 16 '''15''' '''17''' - 0
-| - - ,0 - 3 1 ,1
+|'''^IIv7'''
-|  - - 4 - 3 1 5
+|hiR
-|^bVIv7
-|hi3
 | colspan="2" rowspan="2" |
 |-
-|P5
+| rowspan="2" |Down
-|vM10
+| rowspan="2" |P4
-|P5
+|vM6
+| rowspan="2" |"
+|vm3
+| rowspan="2" |Fa
+|"
+| rowspan="2" |"
+|No
+| - ,,,2 ,,,2 ,,,1 ,,3 -
+| - 14 14 13 11 -
+|IVv7
+|close
+|-
+|vm6
+|vM2
+|Flo
+|Ro
+| - ,,,2 ,,,0 ⸰0 - 0
+| - 14 12 16 - 0
+|vII^d^7
+|hiR
+|bVIIv9noR
+|hi3
+|-
+|South
+|P1
+|P5
+|"
+|vM3
+|Da
 |Sa
-|↑Mo
+|"
-|Sa
+|Mo
-| - - 2 - ,0 3 ,1
+|,,,0 - ,,3 ,,,1 ,,,1 -
-|  - - 2 - 4 3 5
+|12 - 11 13 13 -
 |Iv
-|hiRaddlo5
+|hi3add8
+| colspan="2" |
+|}
+=== Way Down South ===
+Source: https://www.barbershoptags.com/tag-10-Way-Down-South
+The bass and baritone's P8 is the lead and tenor's P1. The opening two chords make a [[50/49|Biruyo]] comma warp. The interval between the top two voices is warped from 10/7 to 7/5. The Buruyo comma is only half a fret, so only one voice need adjust. I chose to have the lead be the one to adjust, because rising seemed more apt than falling, and because the tenor seemed more prominent. Also, the tenor would have to shift to a ~6, way out of key. The lead's vA2 note in the "down" chord is enharmonically equivalent to a m3. In JI, the VIIv7 would be ryVIIh7 (ry7 = 40/21). The very open voicings of the final three chords require 7 strings.
+{| class="wikitable"
+|+
+! rowspan="2" |Lyrics
+! colspan="4" |vocal parts
+! colspan="4" |[[41edo solfege|solfege]]
+! colspan="2" |7-string guitar tab
+! colspan="2" rowspan="2" |chords and
+their [[Hi-lo notation|voicings]]
+! colspan="2" rowspan="2" |chord
+homonyms
+|-
+!Bass
+!Bari
+!Lead
+!Tenor
+!Bs
+!Br
+!Ld
+!Tn
+![[KDF Fret Numbering|KDF frets]]
+!frets
 |-
+|Way
 |P4
-|vM9
+|P8
+|vm3
 |vM6
 |Fa
-|↑Ro
+|↑Da
+|No
 |Lo
-| - ,1 - ,3 - ,2 ,1
+| - ,1 - ,0 2 ,2 -
-|  - 5 - 7 - 6 5
+|  - 5 - 4 2 6 -
-|vII^m7
+|IVv7
-|lo3
+|hi3
-|IVv6
+| colspan="2" rowspan="4" |
-|hi35
+|-
+|Down
+|A4
+|M7
+|vA2
+|vM6
+|Pa
+|Ta
+|Na
+|Lo
+| - ,3 ,,1 ,,1 - ,2 -
+|  - 7 9 9 - 6 -
+|VIIv7
+|lo5
 |-
-|vM3
+| rowspan="11" |South
 |P8
+| rowspan="2" |vM10
 | rowspan="2" |P5
-|Mo
+| rowspan="11" |P8
 |↑Da
+| rowspan="2" |↑Mo
 | rowspan="2" |Sa
-| - 3 - ,0 - 3 ,1
+| rowspan="11" |↑Da
-|  - 3 - 4 - 3 5
+| - - - ,0 ,0 3 ,1
+|  - - - 4 4 3 5
 |Iv
-|lo3add8
+|add8
-| colspan="2" |
 |-
-|^m3
+|vm7
-|^m7
+|Tho
-|Nu
+| - - - 0 ,0 3 ,1
-|Thu
+|  - - - 0 4 3 5
-| - 2 - 1 - 3 ,1
+|Iv7
-| - 2 - 1 - 3 5
+|hiRlo7
-|^bIIIv6
-|hi36
-|(I^m7)
-|(hiRlo37)
 |-
-|^M2
+|vM6
-|^M6
+|vM9
-|A4
+|P4
-|Ru
+|Lo
-|Lu
+|↑Ro
-|Pa
+|Fa
-|,3 - ,2 - ,,0 - ,1
+| - - ,1 ,3 ,2 - ,1
-|7 - 6 - 8 - 5
+|  - - 5 7 6 - 5
-|^IIv7
+|vII^m7
-|hi37
+|lo5
-| colspan="2" rowspan="3" |
+|IVv6
+|lo36
 |-
-|^m2
 |^m6
-|P4
+|^m10
-|Fru
+|d5
 |Flu
-|Fa
+|↑Nu
-|,1 - ,0 - ,2 - ,1
+|Sha
-|5 - 4 - 6 - 5
+| - - ,0 - 3 1 ,1
-|^bIIvM7
+|  - - 4 - 3 1 5
-|hi37
+|^bVIv7
+|hi3
+| colspan="2" rowspan="2" |
 |-
-|P1
 |P5
-|vM3
+|vM10
-|Da
+|P5
+|Sa
+|↑Mo
 |Sa
-|Mo
+| - - 2 - ,0 3 ,1
-|3 - 2 - ,0 - ,1
+|  - - 2 - 4 3 5
-|3 - 2 - 4 - 5
 |Iv
-|hi3addhi8
+|hiRaddlo5
-|}
-=== Smile ===
-source: https://www.barbershoptags.com/tag-1-Smile
-The bass's P8 is every one else's P1. The baritone starts below the lead and ends above the tenor.
-{| class="wikitable"
-|+
-! rowspan="2" |Lyrics
-! colspan="4" |vocal parts
-! colspan="4" |[[41edo solfege|solfege]]
-! colspan="2" |8-string guitar tab
-! colspan="2" rowspan="2" |chords and
-their [[Hi-lo notation|voicings]]
-! colspan="2" rowspan="2" |chord
-homonyms
 |-
-!Bass
+|P4
-!Bari
+|vM9
-!Lead
+|vM6
-!Tenor
+|Fa
-!Bs
+|↑Ro
-!Br
+|Lo
-!Ld
+| - ,1 - ,3 - ,2 ,1
-!Tn
+|  - 5 - 7 - 6 5
-![[KDF Fret Numbering|KDF frets]]
+|vII^m7
-!frets
+|lo3
+|IVv6
+|hi35
 |-
-|A
+|vM3
-|P5
-| -------
-| ------
-| ------
-|Sa
-| -----
-| ----
-| ----
-| - ,3 - - - - - -
-| - 7 - - - - - -
-| ------
-| ------
-| colspan="2" rowspan="3" |
-|-
-|Smile
 |P8
-| rowspan="5" |vM3
+| rowspan="2" |P5
+|Mo
+|↑Da
+| rowspan="2" |Sa
+| - 3 - ,0 - 3 ,1
+|  - 3 - 4 - 3 5
-^m3
+|Iv
-| rowspan="5" |P5
+|lo3add8
+| colspan="2" |
-^m6
-| rowspan="8" |P8
-|↑Da
-| rowspan="5" |Mo
-Nu
-| rowspan="5" |Sa
-Flu
-| rowspan="8" |↑Da
-| - - ,,1 ,,1 ,,0 ,,2 - -
-| - - 9 9 8 10 - -
-|Iv
-|add8
 |-
-|Is
+|^m3
-|vM7
+|^m7
-|To
+|Nu
-| - - ,3 ,,1 ,,0 ,,2 - -
+|Thu
-| - - 7 9 8 10 - -
+| - 2 - 1 - 3 ,1
-|IvM7
+| - 2 - 1 - 3 5
-|hiRlo7
+|^bIIIv6
+|hi36
+|(I^m7)
+|(hiRlo37)
 |-
-|Still
+|^M2
-|vM6
+|^M6
-|Lo
+|A4
-| - ,,2 - ,,1 ,,0 ,,2 - -
+|Ru
-| - 10 - 9 8 10 - -
+|Lu
-|Iv6
+|Pa
-|hiRlo6
+|,3 - ,2 - ,,0 - ,1
-|vVI^m7
+|7 - 6 - 8 - 5
-|hi3
+|^IIv7
+|hi37
+| colspan="2" rowspan="3" |
 |-
-|Worth-
+|^m2
-|P5
-|Sa
-| - ,3 - ,,1 ,,0 ,,2 - -
-| - 7 - 9 8 10 - -
-|Iv
-|hiRaddlo5
-| colspan="2" rowspan="2" |
-|-
-|while
 |^m6
+|P4
+|Fru
 |Flu
-| - ,,1 - ,,0 ,,2 ,,2 - -
-| - 9 - 8 10 10 - -
-|^bVIv
-|hi3add8
-|-
-|Darn
-|P4
-|vM2
-|vm6
 |Fa
-|Ro
+|,1 - ,0 - ,2 - ,1
-|Flo
+|5 - 4 - 6 - 5
-|,,2 - ,,,0 - ,,1 ,,2 - -
+|^bIIvM7
-|10 - 12 - 9 10 - -
+|hi37
-|IVvm6
-|hi35
-|bVIIv9noR
-|lo5
 |-
-|Ya
+|P1
-|P11
+|P5
-|vM9
+|vM3
-|"
+|Da
-|↑Fa
+|Sa
-|↑Ro
+|Mo
-|"
+|3 - 2 - ,0 - ,1
-| - - - ,,3 ,,1 ,,2 - 0
+|3 - 2 - 4 - 5
-| - - - 11 9 10 - 0
-|"
-|close
-|"
-|hi3
-|-
-|Smile
-|P8
-|vM10
-|P5
-|↑Da
-|↑Mo
-|Sa
-| - - ,,1 - ,,0 ,,2 ,,2 -
-| - - 9 - 8 10 10 -
 |Iv
-|hi3add8
+|hi3addhi8
-| colspan="2" |
 |}
-The only chords without an obvious tuning are the ones on "darn ya". See the discussion in "When It's Sleepy Time Down South" about harmonic vs. subharmonic chords. The harmonic IVvm6 chord could be a subharmonic IV^m6. Analyzing the ratios in the "darn" chord, 5/3 would become 12/7 and 7/3 would become 12/5, both worse. But 9/5 would become 7/4 and 9/7 would become 5/4, both better. In the "ya" chord, again 5/3 would become 12/7, worse. But 9/7 would become 5/4, 7/6 would become 6/5, and 10/9 would become 8/7, all three better.
-I chose somewhat arbitrarily to make the IV chord be harmonic. I liked the resulting microtonal lead melody. It would be possible to have a harmonic "darn" chord and a subharmonic "ya" chord, but that would make an awkward lead melody. To make both chords subharmonic, just change v to ^ (solfege: change -o to -u). But the use of the open string means the key must change. Changes (other than the tab) are '''bolded'''.
+=== Smile ===
+source: https://www.barbershoptags.com/tag-1-Smile
+The bass's P8 is every one else's P1. The baritone starts below the lead and ends above the tenor.
 {| class="wikitable"
 |+
@@ Line 2,650: / Line 2,890: @@
 | ----
 | ----
-| - ,2 - - - - - -
+| - ,3 - - - - - -
-| - 6 - - - - - -
+| - 7 - - - - - -
 | ------
 | ------
@@ Line 2,689: / Line 2,929: @@
 Flu
 | rowspan="8" |↑Da
-| - - ,,0 ,,0 ,3 ,,1 - -
+| - - ,,1 ,,1 ,,0 ,,2 - -
-| - - 8 8 7 9 - -
+| - - 9 9 8 10 - -
 |Iv
 |add8
@@ Line 2,697: / Line 2,937: @@
 |vM7
 |To
-| - - ,2 ,,0 ,3 ,,1 - -
+| - - ,3 ,,1 ,,0 ,,2 - -
-| - - 6 8 7 9 - -
+| - - 7 9 8 10 - -
 |IvM7
 |hiRlo7
@@ Line 2,705: / Line 2,945: @@
 |vM6
 |Lo
-| - ,,1 - ,,0 ,3 ,,1 - -
+| - ,,2 - ,,1 ,,0 ,,2 - -
-| - 9 - 8 7 9 - -
+| - 10 - 9 8 10 - -
 |Iv6
 |hiRlo6
@@ Line 2,715: / Line 2,955: @@
 |P5
 |Sa
-| - ,2 - ,,0 ,3 ,,1 - -
+| - ,3 - ,,1 ,,0 ,,2 - -
-| - 6 - 8 7 9 - -
+| - 7 - 9 8 10 - -
 |Iv
 |hiRaddlo5
@@ Line 2,724: / Line 2,964: @@
 |^m6
 |Flu
-| - ,,0 - ,3 ,,1 ,,1 - -
+| - ,,1 - ,,0 ,,2 ,,2 - -
-| - 8 - 7 9 9 - -
+| - 9 - 8 10 10 - -
 |^bVIv
 |hi3add8
@@ Line 2,731: / Line 2,971: @@
 |Darn
 |P4
-|'''^M2'''
+|vM2
-|'''^m6'''
+|vm6
 |Fa
-|'''Ru'''
+|Ro
-|'''Flu'''
+|Flo
-|,,1 - ,,,0 - ,,1 ,,1 - -
+|,,2 - ,,,0 - ,,1 ,,2 - -
-|9 - 12 - 9 9 - -
+|10 - 12 - 9 10 - -
-|'''IV^m6'''
+|IVvm6
 |hi35
-|'''bVII^9noR'''
+|bVIIv9noR
 |lo5
 |-
 |Ya
 |P11
-|'''^M9'''
+|vM9
-|'''"'''
+|"
 |↑Fa
-|'''↑Ru'''
+|↑Ro
-|'''"'''
+|"
-| - - - ,,2 ,,1 ,,1 - 0
+| - - - ,,3 ,,1 ,,2 - 0
-| - - - 10 9 9 - 0
+| - - - 11 9 10 - 0
-|'''"'''
+|"
 |close
-|'''"'''
+|"
 |hi3
 |-
@@ Line 2,764: / Line 3,004: @@
 |↑Mo
 |Sa
-| - - ,,0 - ,3 ,,1 ,,1 -
+| - - ,,1 - ,,0 ,,2 ,,2 -
-| - - 8 - 7 9 9 -
+| - - 9 - 8 10 10 -
 |Iv
 |hi3add8
 | colspan="2" |
 |}
-How do barbershoppers sing this tag in practice? In the source material's recording, the lead does not shift microtonally, and uses their "while" note for "darn ya". But the baritone is singing a plain 2nd and 9th, not an up 2nd/9th. So who knows?
+The only chords without an obvious tuning are the ones on "darn ya". See the discussion in "When It's Sleepy Time Down South" about harmonic vs. subharmonic chords. The harmonic IVvm6 chord could be a subharmonic IV^m6. Analyzing the ratios in the "darn" chord, 5/3 would become 12/7 and 7/3 would become 12/5, both worse. But 9/5 would become 7/4 and 9/7 would become 5/4, both better. In the "ya" chord, again 5/3 would become 12/7, worse. But 9/7 would become 5/4, 7/6 would become 6/5, and 10/9 would become 8/7, all three better.
-=== Whisper Words of Wisdom (Let It Be by the Beatles) ===
+I chose somewhat arbitrarily to make the IV chord be harmonic. I liked the resulting microtonal lead melody. It would be possible to have a harmonic "darn" chord and a subharmonic "ya" chord, but that would make an awkward lead melody. To make both chords subharmonic, just change v to ^ (solfege: change -o to -u). But the use of the open string means the key must change. Changes (other than the tab) are '''bolded'''.
-A translation of the last line of the chorus of "Let It Be" as a barbershop tag. I tried to give each of the 4 lines a fun easy melody. The 2nd to last chord is a dissonant upmajor triad, the "rub" that drives the cadence.
-The P8 of the bass and baritone is the P1 of the lead and tenor. For 6-string and 7-string guitar, in A downmajor. The 7-string would be in high-7 tuning. The guitar duplicates the voices exactly. I omitted the lead's suspension (M2 to P1) on "Be" because it doesn't work well on the guitar.
 {| class="wikitable"
 |+
@@ Line 2,781: / Line 3,018: @@
 ! colspan="4" |vocal parts
 ! colspan="4" |[[41edo solfege|solfege]]
-! colspan="2" |6-string tab
+! colspan="2" |8-string guitar tab
-!7-string tab
 ! colspan="2" rowspan="2" |chords and
 their [[Hi-lo notation|voicings]]
-! colspan="2" rowspan="2" |chord homonyms
+! colspan="2" rowspan="2" |chord
+homonyms
 |-
 !Bass
@@ Line 2,797: / Line 3,034: @@
 !Tn
 ![[KDF Fret Numbering|KDF frets]]
-!frets
 !frets
 |-
-|Whisper
+|A
 |P5
-|P8
+| -------
-|vM3
+| ------
-|vm7
+| ------
 |Sa
-|↑Da
+| -----
-|Mo
+| ----
-|Tho
+| ----
-|⸰2 ⸰⸰0 ⸰⸰0 - ⸰1 -
+| - ,2 - - - - - -
-|18 20 20 - 17 -
+| - 6 - - - - - -
-| - - 5 7 7 - 4
+| ------
-|Iv7
+| ------
-|lo5
+| colspan="2" rowspan="3" |
-| colspan="2" |
 |-
-|Words
+|Smile
-|"
-|m9
-|v4
-|"
-|"
-|↑Fra
-|Fo
-|"
-|⸰2 - ,,,3 ,,,3 ⸰1 -
-|18 - 15 15 17 -
-| - - 5 - 2 2 4
-|Vvdv7
-|hi3
-|vbVII^m6
-|hiRlo6
-|-
-|Of
-|"
 |P8
-|vM3
+| rowspan="5" |vM3
-|vM6
-|"
-|↑Da
-|Mo
-|Lo
-|⸰2 ⸰⸰0 ⸰⸰0 ⸰⸰2 - -
+^m3
-|18 20 20 22 - -
+| rowspan="5" |P5
-| - - 5 7 7 9 -
-|Iv6
-|lo5
-| colspan="2" |
+^m6
+| rowspan="8" |P8
+|↑Da
+| rowspan="5" |Mo
+Nu
+| rowspan="5" |Sa
+Flu
+| rowspan="8" |↑Da
+| - - ,,0 ,,0 ,3 ,,1 - -
+| - - 8 8 7 9 - -
+|Iv
+|add8
 |-
-|Wis-
+|Is
-|"
 |vM7
-|"
+|To
+| - - ,2 ,,0 ,3 ,,1 - -
+| - - 6 8 7 9 - -
+|IvM7
+|hiRlo7
+|-
+|Still
+|vM6
+|Lo
+| - ,,1 - ,,0 ,3 ,,1 - -
+| - 9 - 8 7 9 - -
+|Iv6
+|hiRlo6
+|vVI^m7
+|hi3
+|-
+|Worth-
 |P5
-|"
-|To
-|"
 |Sa
-|⸰2 ⸰2 ⸰⸰0 ⸰3 - -
+| - ,2 - ,,0 ,3 ,,1 - -
-|18 18 20 19 - -
+| - 6 - 8 7 9 - -
-| - - 5 5 7 6 -
+|Iv
-|vIII^m
+|hiRaddlo5
-|hiRadd10
+| colspan="2" rowspan="2" |
-|Vv6no5
-|add8
 |-
-|dom
+|while
-|"
+|^m6
-|"
+|Flu
-|M2
+| - ,,0 - ,3 ,,1 ,,1 - -
-|v4
+| - 8 - 7 9 9 - -
-|"
+|^bVIv
-|"
+|hi3add8
-|Ra
-|Fo
-|⸰2 ⸰2 ⸰1 ,,,3 - -
-|18 18 17 15 - -
-| - - 5 5 4 2 -
-|Vv7
-|close
-| colspan="2" |
 |-
-|Let
+|Darn
-|"
+|P4
-|vm7
+|'''^M2'''
-|vM3
+|'''^m6'''
-|P5
+|Fa
-|"
+|'''Ru'''
-|Tho
+|'''Flu'''
-|Mo
+|,,1 - ,,,0 - ,,1 ,,1 - -
+|9 - 12 - 9 9 - -
+|'''IV^m6'''
+|hi35
+|'''bVII^9noR'''
+|lo5
+|-
+|Ya
+|P11
+|'''^M9'''
+|'''"'''
+|↑Fa
+|'''↑Ru'''
+|'''"'''
+| - - - ,,2 ,,1 ,,1 - 0
+| - - - 10 9 9 - 0
+|'''"'''
+|close
+|'''"'''
+|hi3
+|-
+|Smile
+|P8
+|vM10
+|P5
+|↑Da
+|↑Mo
 |Sa
-|  - - ,1 3 ,3 ,2
+| - - ,,0 - ,3 ,,1 ,,1 -
-| - - 5 3 7 6
+| - - 8 - 7 9 9 -
-| - - 5 3 7 6 -
+|Iv
-|Vvm6no5
+|hi3add8
-|add8
+| colspan="2" |
-|Iv7noR
+|}
-|lo7addlo5
+How do barbershoppers sing this tag in practice? In the source material's recording, the lead does not shift microtonally, and uses their "while" note for "darn ya". But the baritone is singing a plain 2nd and 9th, not an up 2nd/9th. So who knows?
+=== Whisper Words of Wisdom (Let It Be by the Beatles) ===
+A translation of the last line of the chorus of "Let It Be" as a barbershop tag. I tried to give each of the 4 lines a fun easy melody. The 2nd to last chord is a dissonant upmajor tetrad, the "rub" that drives the cadence.
+The P8 of the bass and baritone is the P1 of the lead and tenor. For 6-string and 7-string guitar, in A downmajor. The 7-string would be in high-7 tuning. The guitar duplicates the voices exactly. I omitted the lead's suspension (M2 to P1) on "Be" because it doesn't work well on the guitar.
+The sheet music is missing the penultimate tenor note.
+{| class="wikitable"
+|+
+! rowspan="2" |Lyrics
+! colspan="4" |vocal parts
+! colspan="4" |[[41edo solfege|solfege]]
+! colspan="2" |6-string tab
+!7-string tab
+! colspan="2" rowspan="2" |chords and
+their [[Hi-lo notation|voicings]]
+! colspan="2" rowspan="2" |chord homonyms
+|-
+!Bass
+!Bari
+!Lead
+!Tenor
+!Bs
+!Br
+!Ld
+!Tn
+![[KDF Fret Numbering|KDF frets]]
+!frets
+!frets
 |-
-|It
+|Whisper
-|"
+|P5
-|"
+|P8
-|M2
+|vM3
-|v4
+|vm7
-|"
+|Sa
-|"
+|↑Da
-|Ra
+|Mo
-|Fo
+|Tho
-|  - - ,1 3 ,0 2
+|⸰2 ⸰⸰0 ⸰⸰0 - ⸰1 -
-| - - 5 3 4 2
+|18 20 20 - 17 -
-| - - 5 3 4 2 -
+| - - 5 7 7 - 4
-|Vvm7
+|Iv7
-|close
+|lo5
-| colspan="2" rowspan="2" |
+| colspan="2" |
 |-
-| rowspan="3" |Be
+|Words
-|P4
+|"
-|vM6
+|m9
-| rowspan="3" |P1
+|v4
-| rowspan="2" |vm3
+|"
-|Fa
+|"
-|Lo
+|↑Fra
-| rowspan="3" |Da
+|Fo
-| rowspan="2" |No
+|"
-|  - ,,0 ,,0 ,3 ,1 -
+|⸰2 - ,,,3 ,,,3 ⸰1 -
-| - 8 8 7 5 -
+|18 - 15 15 17 -
-| - 8 8 7 5 - -
+| - - 5 - 2 2 4
-|IVv7
+|Vvdv7
-|close
+|hi3
-|-
+|vbVII^m6
-|vm3
+|hiRlo6
-|vm6
+|-
-|No
+|Of
-|Flo
+|"
-|  - ,0 ,2 ,3 ,1 -
+|P8
-| - 4 6 7 5 -
+|vM3
-| - 4 6 7 5 - -
+|vM6
-|vbVI^
+|"
-|addlo5
+|↑Da
-|IVvm7noR
+|Mo
-|addlo7
+|Lo
+|⸰2 ⸰⸰0 ⸰⸰0 ⸰⸰2 - -
+|18 20 20 22 - -
+| - - 5 7 7 9 -
+|Iv6
+|lo5
+| colspan="2" |
+|-
+|Wis-
+|"
+|vM7
+|"
+|P5
+|"
+|To
+|"
+|Sa
+|⸰2 ⸰2 ⸰⸰0 ⸰3 - -
+|18 18 20 19 - -
+| - - 5 5 7 6 -
+|vIII^m
+|hiRadd10
+|Vv6no5
+|add8
+|-
+|dom
+|"
+|"
+|M2
+|v4
+|"
+|"
+|Ra
+|Fo
+|⸰2 ⸰2 ⸰1 ,,,3 - -
+|18 18 17 15 - -
+| - - 5 5 4 2 -
+|Vv7
+|close
+| colspan="2" |
+|-
+|Let
+|"
+|vm7
+|vM3
+|P5
+|"
+|Tho
+|Mo
+|Sa
+| - - ,1 3 ,3 ,2
+| - - 5 3 7 6
+| - - 5 3 7 6 -
+|Vvm6no5
+|add8
+|Iv7noR
+|lo7addlo5
+|-
+|It
+|"
+|"
+|M2
+|v4
+|"
+|"
+|Ra
+|Fo
+| - - ,1 3 ,0 2
+| - - 5 3 4 2
+| - - 5 3 4 2 -
+|Vvm7
+|close
+| colspan="2" rowspan="4" |
+|-
+| rowspan="3" |Be
+|P4
+|vM6
+| rowspan="3" |P1
+|vm3
+|Fa
+|Lo
+| rowspan="3" |Da
+|No
+| - ,,0 ,,0 ,3 ,1 -
+| - 8 8 7 5 -
+| - 8 8 7 5 - -
+|IVv7
+|close
+|-
+|vm3
+|vm6
+|d5
+|No
+|Flo
+|Sha
+| - ,0 ,2 ,3 ,1 -
+| - 4 6 7 - 4
+| - 4 6 7 - 4 -
+|vbVI^7
+|lo5
+|-
+|P1
+|P5
+|vM3
+|Da
+|Sa
+|Mo
+|,2 - ,1 ,3 ,3 -
+|6 - 5 7 7 -
+|6 - 5 7 7 - -
+|Iv
+|hi3add8
+|}
+[[File:Whisper Words of Wisdom 41edo small.png|frameless|779x779px]]
+=== Baby Please Don't Go ===
+https://www.barbershoptags.com/tag-3322-Baby-Please-Don't-Go (These mp3s are way too fast, sing it slower!)
+It's hard to play the vocal lines on guitar, but guitar chords can be strummed with it.
+The bass's P8 is everyone else's P1. Here's the ranges:
+* Tenor: P5 to P12
+* Lead: low vm7 to vm10
+* Baritone: P1 to vm7
+* Bass: P1 to vm10
+[[File:Baby Please Don't Go ^v.png|690x690px]]
+{| class="wikitable"
+|+
+! rowspan="2" |Lyrics
+! colspan="12" |vocal parts
+! colspan="2" rowspan="2" |guitar
+chords
+|-
+! colspan="3" |Bass
+! colspan="3" |Baritone
+! colspan="3" |Lead
+! colspan="3" |Tenor
+|-
+|Now
+| colspan="3" rowspan="6" |
+| colspan="3" rowspan="6" |
+|P5
+|w5
+|Sa
+| colspan="3" rowspan="6" |
+| colspan="2" rowspan="6" |
+|-
+|Ba-
+|vm7
+|z7
+|Tho
+|-
+|by
+|P8
+|w8
+|↑Da
+|-
+|Please
+|vm10
+|z10
+|↑No
+|-
+|Don't
+|P8
+|w8
+|↑Da
+|-
+|Go
+| rowspan="3" |P8
+| rowspan="3" |w8
+| rowspan="3" |↑Da
+|-
+|(No)
+|P8
+|w8
+|↑Da
+|vm7
+|z7
+|Tho
+|vm10
+|z10
+|↑No
+| rowspan="3" |Iv7
+| rowspan="3" |Iz7
+|-
+|(No)
+|"
+|"
+|"
+|P5
+|w5
+|Sa
+|P8
+|w8
+|↑Da
+|-
+|(No)
+|"
+|"
+|"
+|"
+|"
+|"
+|
+|
+|
+|vm7
+|z7
+|Tho
+|-
+|Now
+| colspan="3" rowspan="6" |
+| colspan="3" rowspan="6" |
+|P5
+|w5
+|Sa
+| colspan="3" rowspan="6" |
+| colspan="2" rowspan="6" |
+|-
+|Ba-
+|vm7
+|z7
+|Tho
+|-
+|by
+|P8
+|w8
+|↑Da
+|-
+|Please
+|vm10
+|z10
+|↑No
+|-
+|Don't
+|P8
+|w8
+|↑Da
+|-
+|Go
+| rowspan="2" |vm7
+| rowspan="2" |z7
+| rowspan="2" |Tho
+|-
+|(No No)
+|vm10
+|z10
+|↑No
+|b5
+|zg5
+|Sha
+|m9
+|zg9
+|↑Fra
+|vbIII^m7
+|zIIIg7
+|-
+|(No)
+|P8
+|w8
+|↑Da
+|P4
+|w4
+|Fa
+|vm6
+|z6
+|Flo
+|vm10
+|z10
+|↑No
+|IVvm7
+|IVz7
+|-
+|Now
+| colspan="3" rowspan="3" |
+| colspan="3" rowspan="3" |
+|P5
+|w5
+|Sa
+| colspan="3" rowspan="3" |
+| colspan="2" rowspan="3" |
+|-
+|Ba-
+|vm7
+|z7
+|Tho
+|-
+|by
+|P8
+|w8
+|↑Da
+|-
+|Please
+|P8
+|w8
+|↑Da
+|vm7
+|z7
+|Tho
+|vm10
+|z10
+|↑No
+|P12
+|w12
+|↑Sa
+| rowspan="5" |Ivm7
+| rowspan="5" |Iz7
+|-
+|Don't
+|"
+|"
+|"
+|P5
+|w5
+|Sa
+|P8
+|w8
+|↑Da
+|P11
+|w11
+|↑Fa
+|-
+|Go
+|"
+|"
+|"
+|"
+|"
+|"
+|"
+|"
+|"
+|vm10
+|z10
+|↑No
+|-
+|Back
+|"
+|"
+|"
+|"
+|"
+|"
+|vm7
+|z7
+|Tho
+|"
+|"
+|"
+|-
+|To
+|"
+|"
+|"
+|"
+|"
+|"
+|P5
+|w5
+|Sa
+|"
+|"
+|"
+|-
+|New
+|vm7
+|z7
+|Tho
+|P4
+|w4
+|Fa
+|vm7
+|z7
+|Tho
+|m9
+|zg9
+|↑Fra
+| rowspan="2" |vbVII^m7
+| rowspan="2" |zVIIg7
+|-
+|Or-
+|"
+|"
+|"
+|vm3
+|z3
+|No
+|"
+|"
+|"
+|"
+|"
+|"
+|-
+|leans
+|P5
+|w5
+|Sa
+|P1
+|w1
+|Da
+|P8
+|w8
+|↑Da
+|vm7
+|z7
+|Tho
+| rowspan="2" |Ivm7
+| rowspan="2" |Iz7
+|-
+|You Know I
+|P8
+|w8
+|↑Da
+|vm7
+|z7
+|Tho
+|P5
+|w5
+|Sa
+|vm10
+|z10
+|↑No
+|-
+| rowspan="2" |Love
+| rowspan="2" |P4
+| rowspan="2" |w4
+| rowspan="2" |Fa
+| rowspan="2" |vm6
+| rowspan="2" |z6
+| rowspan="2" |Flo
+|P4
+|w4
+|Fa
+| rowspan="2" |P8
+| rowspan="2" |w8
+| rowspan="2" |↑Da
+| rowspan="3" |IVvm7
+| rowspan="3" |IVz7
+|-
+|vm3
+|z3
+|No
+|-
+|You
+|P4
+|w4
+|Fa
+|vm6
+|z6
+|Flo
+|P1
+|w1
+|Da
+|"
+|"
+|"
+|-
+|So
+|P5
+|w5
+|Sa
+|P5
+|w5
+|Sa
+|vm3
+|z3
+|No
+|"
+|"
+|"
+|Ivm
+|Iz
+|-
+|Now Baby
+|vm7
+|z7
+|Tho
+|vm3
+|z3
+|No
+|b5
+|zg5
+|Sha
+|vm7
+|z7
+|Tho
+|vbIII^m
+|zIIIg
+|-
+| rowspan="2" |Please
+| rowspan="2" |P4
+| rowspan="2" |w4
+| rowspan="2" |Fa
+| rowspan="2" |P4
+| rowspan="2" |w4
+| rowspan="2" |Fa
+|P4
+|w4
+|Fa
+| rowspan="2" |vm6
+| rowspan="2" |z6
+| rowspan="2" |Flo
+| rowspan="3" |IVvm7
+| rowspan="3" |IVz7
+|-
+|vm3
+|z3
+|No
+|-
+|Don't
+|vm3
+|z3
+|No
+|P4
+|w4
+|Fa
+|P1
+|w1
+|Da
+|"
+|"
+|"
+|-
+| rowspan="2" |Go
+| rowspan="2" |P1
+| rowspan="2" |w1
+| rowspan="2" |Da
+|vm3
+|z3
+|No
+|P1
+|w1
+|Da
+|vm7
+|z7
+|Tho
+| rowspan="2" |Ivm7
+| rowspan="2" |Iz7
+|-
+|P1
+|w1
+|Da
+|↓vm7
+|↓z7
+|↓Tho
+|P5
+|w5
+|Sa
+|}
+=== Danny My Boy ===
+source: https://www.barbershoptags.com/tag-11-Danny-My-Boy
+The bass and baritone's P8 is the lead and tenor's P1.
+There's a rule in barbershop that a dom7 chord is always tuned 4:5:6:7. If the chords for the first "boy" (II9noR and II7) are tuned 5:6:7:9 and 5:6:7:8, there's a large comma warp. The baritone and the lead go from being 5/4 apart to being 9/7 apart. That's a difference of 36/35 = 49¢. Then going to the 2nd "Dan" there's another 36/35 warp between the baritone and the lead (8/7 to 10/9), and between the baritone and the tenor (12/7 to 5/3).
+There's another rule that says to keep the tonic steady no matter what. Since the baritone is singing the tonic, the lead must move up 49¢. And then drop down 49¢ for the chord on the 2nd "Dan". The melody is 5/4 - 9/7 - 8/7 - 10/9, extremely awkward!
+A third rule is that the lead should sing a simple straightforward melody in 12edo or pythagorean or 5-limit JI, with no comma shifts. And the other parts should do whatever microtonal shifting is needed to get 7-limit harmony. Thus the lead should hold the vM3 note steady. That means the baritone should drop 49¢ to a vvP8. And then to avoid tonic drift, go back up 49¢ for the chords under the 2nd "Danny my boy". The bass's step down to the first "boy" would be quite large, 27/25 = 133¢.
+Another possibility is the lead shifts up by 81/80 and the baritone down by 64/63, which adds up to 36/35. That makes the root of the first "boy" chord 9/8 not 10/9. But the bass is really going to want to sing 4/3 next. Because that's what barbershop basses do, they fight tonic drift. So the next chord will be rooted on 10/9. Which means the lead and tenor must drop by 81/80. And the bari must rise by 64/63. That's a lot of shifting!
+This translation avoids all pitch shifts by using subharmonic chords. The lead and the baritone don't waver. The first chord under the first "boy" is tuned 7:5:4:3 (as opposed to 5:6:7:9) and the second chord is 14:10:9:6 (as opposed to 5:6:7:8).
+Yet another possibility is to go from 7:5:4:3 to 5:6:7:9 during the first "boy". The bass drops from 10/7 to 25/18 (36/35). The baritone drops at the same time from 1/1 to 35/36.
+The "boy" chords could instead be tuned with a 5/4 third and a 9/5 seventh, rooted on 10/9. No shifting. But then the interval between the bass and the baritone would be 36/25 = 631¢, which would sound like 13/9 = 637¢. This seems very non-barbershop-like.
+Or the 7th could be tuned not to 7/4 but to 16/9 instead. That makes everything 5-limit and reduces all comma warps to 81/80. This is probably what happens in practice most of the time. This of course contradicts [https://www.barbershop.org/music/about-our-music#barbershop-performance-best-practices barbershop.org]: "A minor seventh (C - Bb), to be sung in tune, requires the Bb to be 31 cents lower than the piano."
+{| class="wikitable"
+|+
+! rowspan="2" |Lyrics
+! colspan="4" |vocal parts
+! colspan="4" |[[41edo solfege|solfege]]
+! colspan="2" rowspan="2" |chords and
+their [[Hi-lo notation|voicings]]
+! colspan="2" rowspan="2" |chord
+homonyms
+|-
+!Bass
+!Bari
+!Lead
+!Tenor
+!Bs
+!Br
+!Ld
+!Tn
+|-
+|Danny My
+|P5
+| P8
+| vM3
+| P5
+|Sa
+| ↑Da
+| Mo
+| Sa
+| Iv
+| addlo5
+| colspan="2" |
+|-
+| rowspan="2" |Boy
+| rowspan="2" |A4
+| rowspan="2" |"
+|"
+| rowspan="2" |vM6
+| rowspan="2" |Pa
+| rowspan="2" |"
+|"
+| rowspan="2" |Lo
+|#IVvdv7
+|hi3
+|vII^9nR
+|hi5
+|-
+|vM2
+|Ro
+|#IVvdvb6
+|hi3
+|vII^7
+|lo37
+|-
+|Dan-
+|P4
+|"
+|"
+|"
+|Fa
+|"
+|"
+|"
+|IVv6
+|hi3
+|vII^m7
+|lo37
+|-
+| -ny
+|vM3
+|"
+|vM3
+|"
+|Mo
+|"
+|Mo
+|"
+|vVI^m
+|hiRaddlo5
+|Iv6n5
+|addlo3
+|-
+|My
+|vM2
+|"
+|P4
+|"
+|Ro
+|"
+|Fa
+|"
+|vII^m7
+|hi35
+|IVv6
+|hiR3lo6
+|-
+|Boy
+|P1
+|"
+|vM3
+|P5
+|Da
+|"
+|Mo
+|Sa
+|Iv
+|addloR
+| colspan="2" |
+|-
+|My
+|^m3
+|^m7
+|P5
+|P8
+|Nu
+|Thu
+|Sa
+|↑Da
+|^bIIIv6
+|hi36
+|I^m7
+|hiRlo37
+|-
+|Boy
+|P1
+|P5
+|vM3
+|"
+|Da
+|Sa
+|Mo
+|"
+|Iv
+|hi3addhi8
+| colspan="2" |
+|}
+=== Cry (I Made You Cry) ===
+The bass and baritone's P8 is the lead and tenor's P1. Everyone starts in unison. The chord for "I" and "you" has yet another homonym, bVIIv9noR in a hi3 ("I") or hi5 ("you") voicing.
+The baritone must move up and then down by one fret (36/35).
+{| class="wikitable"
+|+
+! rowspan="2" |Lyrics
+! colspan="4" |vocal parts
+! colspan="4" |[[41edo solfege|solfege]]
+! colspan="2" rowspan="2" |chords and
+their [[Hi-lo notation|voicings]]
+! rowspan="2" |JI
+chord
+! colspan="3" rowspan="2" |chord
+homonyms
+|-
+!Bass
+!Bari
+!Lead
+!Tenor
+!Bs
+!Br
+!Ld
+!Tn
+|-
+| rowspan="3" |Cry
+|P8
+| P8
+| rowspan="7" | P1
+| P1
+|↑Da
+| ↑Da
+| rowspan="7" | Da
+| Da
+| unison
+|
+|
+| colspan="3" rowspan="3" |
+|-
+|vm7
+| rowspan="2" |vm7
+| rowspan="2" |vM3
+|Tho
+| rowspan="2" |Tho
+| rowspan="2" |Mo
+| rowspan="2" |Iv7
+| rowspan="2" |lo57
+| rowspan="2" |Ih7
+|-
+|P5
+|Sa
+|-
+|I
+|P4
+|vm6
+|vM2
+|Pa
+|Flo
+|Ro
+|IVvm6
+|close
+|IVz,y6
+|vII^m7(b5)
+|hiR
+|yIIg7(zg5)
+|-
+|Made
+|^m3
+|^m6
+|^m3
+|Nu
+|Flu
+|Nu
+|^bVIv
+|addlo5
+|gVIy
+| colspan="3" |
+|-
+|You
+|vM2
+|vm6
+|P4
+|Ro
+|Flo
+|Fa
+|IVvm6
+|hiRlo6
+|IVz,y6
+|vII^m7(b5)
+|hi3
+|yIIg7(zg5)
+|-
+|Cry
+|P1
+|P5
+|vM3
+|Da
+|Sa
+|Mo
+|Iv
+|hi3add8
+|Iy
+| colspan="3" |
+|}
+An alternate version that makes the baritone melody more graceful. Changes are '''bolded'''. Note the extreme similarity to Sweet Sweet Harmony.
+{| class="wikitable"
+! rowspan="2" |Lyrics
+! colspan="4" |vocal parts
+! colspan="4" |[[41edo solfege|solfege]]
+! colspan="2" rowspan="2" |chords and
+their [[Hi-lo notation|voicings]]
+! rowspan="2" |JI
+chord
+! colspan="3" rowspan="2" |chord
+homonyms
+|-
+!Bass
+!Bari
+!Lead
+!Tenor
+!Bs
+!Br
+!Ld
+!Tn
+|-
+| rowspan="3" |Cry
+|P8
+| P8
+| rowspan="7" | P1
+| P1
+|↑Da
+| ↑Da
+| rowspan="7" | Da
+| Da
+| unison
+|
+|
+| colspan="3" rowspan="5" |
+|-
+|vm7
+| rowspan="2" |vm7
+| rowspan="2" |vM3
+|Tho
+| rowspan="2" |Tho
+| rowspan="2" |Mo
+| rowspan="2" |Iv7
+| rowspan="2" |lo57
+| rowspan="2" |Ih7
+|-
+|P5
+|Sa
+|-
+|I
+|P4
+|'''vM6'''
+|'''vm3'''
+|Pa
+|'''Lo'''
+|'''No'''
+|'''IVv7'''
+|close
+|'''IVh7'''
+|-
+|Made
+|^m3
+|^m6
+|'''d5'''
+|Nu
+|Flu
+|'''Sha'''
+|'''^bVIv7'''
+|'''lo5'''
+|'''gVIh7'''
+|-
+|You
+|vM2
+|vm6
+|P4
+|Ro
+|Flo
+|Fa
+|IVvm6
+|hiRlo6
+|IVz,y6
+|vII^m7(b5)
+|hi3
+|yIIg7(zg5)
 |-
+|Cry
 |P1
 |P5
@@ Line 2,948: / Line 4,144: @@
 |Sa
 |Mo
-|,2 - ,1 ,3 ,3 -
-|6 - 5 7 7 -
-|6 - 5 7 7 - -
 |Iv
 |hi3add8
-| colspan="2" |
+|Iy
+| colspan="3" |
 |}
-[[File:Whisper Words of Wisdom 41edo small.png|frameless|779x779px]]
 == World Music, Microtonal Music, etc. ==
@@ Line 3,164: / Line 4,356: @@
 https://soundcloud.com/metaclown/couples-therapy
-This clever charming song is originally in 22edo. The bass line uses a descending Triyo/Porcupine 8-note scale of D ^C vB A ^G vF# E vE D. In edosteps that's 33333313. Every other note of the scale is the root of a downmajor chord, so the progression is Iv -- vVIv -- ^IVv -- IIv. Root movement is by descending upminor 3rds, thus the 3rd of each chord becomes the 5th of the next chord. Preserving that pattern means this scale translates to 41edo's D ^C vB A ^^G vF# ^E vE D = 65656526. This results in each 22edo note being mapped to the nearest 41edo note, except that 22edo's E is about 3¢ closer to 41edo's E than to 41edo's ^E. The 3rds of the VI, IV and II chords add 3 more notes to the scale. in 22edo they are ^D, B and vG#. Again, these translate to the nearest 41edo notes, ^^D, ^B and G#. (22edo's vG# is equally close to 41edo's vG#. But mapping to that note would make the II chord a mid triad not a downmajor one, very different than the original chord.)
+This clever charming song is originally in 22edo. I  22edo, the bass line uses a descending Triyo/Porcupine 8-note scale of D ^C vB A ^G vF# ^F vE D. In edosteps that's 33333313. Every other note of the scale is the root of a downmajor chord, so the progression is Iv -- vVIv -- ^IVv -- vIIIv. Root movement is mostly by descending upminor 3rds, thus the 3rd of each chord becomes the 5th of the next chord.
-Since the last chord has no notes in common with the first chord, this song does not actually pump the Triyo comma, and no pitch shifts are required to play it in 41edo.
+Preserving that pattern in 41edo means this scale translates to 41edo's D ^C vB A ^^G vF# ^F vE D = 65656256. This results in each 22edo note being mapped to the nearest 41edo note, except that 22edo's E is about 3¢ closer to 41edo's E than to 41edo's ^E. The 3rds of the VI and IV chords add 2 more notes to the scale. in 22edo they are ^D and B. Again, these translate to the nearest 41edo notes, ^^D and ^B.
 Translating to 41edo makes the 7L1s scale become 4L3M1s. But 3/2 and 6/5 become better tuned and 5/4 is only 2¢ worse. This is a general pattern when translating to 41edo from a lower edo. Melodies are more irregular, but harmonies improve.
@@ Line 3,186: / Line 4,378: @@
 | - 9 11 11 10 -
 |-
-|^IIv
+|^bIIIv
-|^Ev
+|^Fv
-| - 12 12 11 13 -
+|  - 5 7 7 6 -
 |}
@@ Line 3,194: / Line 4,386: @@
 source: https://www.youtube.com/watch?v=AfXV_aDuDcg?t=96
-The original 22edo chords are IvM7 -- I^m7 -- ^bVIIvM7 -- ^bVII^m7 -- vVIvM7 -- vVI^m7 -- VvM7 -- V^m7. On the Kite guitar, one can simply play exactly what's written, but interpret it as 41edo instead of 22edo. As a result, the three downward root movements are not all equal. Two of them are vM2 (6\41). But the ^bVII to vVI move is a ~2 (5\41) instead. Like the last song, the melody (which in this case is the bass line) is more irregular, but the harmonies improve.
+The original 22edo chords are IvM7 -- I^m7 -- ^bVIIvM7 -- ^bVII^m7 -- vVIvM7 -- vVI^m7 -- VvM7 -- Vv,7. On the Kite guitar, one can simply play exactly what's written, but interpret it as 41edo instead of 22edo (except Vv,7 becomes Vv7). As a result, the three downward root movements are not all equal. Two of them are vM2 (6\41). But the ^bVII to vVI move is a ~2 (5\41) instead. Like the previous song, the melody (which in this case is the bass line) is more irregular, but the harmonies improve.
-In the video, Mike is demoing an all-5th tuning that puts the chords in a very open hi37 voicing (R-5-10-14). This requires an 8-string Kite guitar. Two 6-string tabs are given as well. The first two tabs are both in about the same key as the video, but that's not possible with the 3rd one unless it's played quite high.
+In the video, Mike is demoing an all-5ths tuning that puts the chords in a very open hi37 voicing (R-5-10-14). This requires an 8-string Kite guitar. Two 6-string tabs are given as well. The first two tabs are both in about the same key as the video, but that's not possible with the 3rd one unless it's played quite high.
 There's a common tone between the 4th and 5th chords that shifts upward 1 edostep. In Mike's voicing, it's voiced two octaves lower in the 5th chord than in the 4th, so the shift is quite hard to hear. Even in the closer voicings for 6 strings, it's voiced an octave down.
@@ Line 3,202: / Line 4,394: @@
 !chords
 !8-string tab
-hi37 voicing
+[[Hi-lo notation|hi37 voicing]]
 !6-string tab
-lo5 voicing
+[[Hi-lo notation|lo5 voicing]]
 !6-string tab
-hi3 voicing
+[[Hi-lo notation|hi3 voicing]]
 |-
 |IvM7

Kite Guitar translations by Kite Giedraitis: Difference between revisions