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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.  
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.  
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) ===
=== Please Don't Sell My Daddy No More Wine (Tom Lane) ===
Line 2,501: Line 2,501:
| colspan="2" |
| 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 actually smoother!  
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]].
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]].
Line 2,661: Line 2,661:
Source: https://www.barbershoptags.com/tag-10-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. The very open voicings of the final three chords require 7 strings.
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"
{| class="wikitable"
|+
|+
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=== Whisper Words of Wisdom (Let It Be by the Beatles) ===
=== 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 triad, the "rub" that drives the cadence.
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 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"
{| class="wikitable"
|+
|+
Line 3,286: Line 3,288:
|Mo
|Mo
|Sa
|Sa
| - - ,1 3 ,3 ,2
| - - ,1 3 ,3 ,2
| - - 5 3 7 6
| - - 5 3 7 6
| - - 5 3 7 6 -
| - - 5 3 7 6 -
Line 3,303: Line 3,305:
|Ra
|Ra
|Fo
|Fo
| - - ,1 3 ,0 2
| - - ,1 3 ,0 2
| - - 5 3 4 2
| - - 5 3 4 2
| - - 5 3 4 2 -
| - - 5 3 4 2 -
|Vvm7
|Vvm7
|close
|close
| colspan="2" rowspan="2" |
| colspan="2" rowspan="4" |
|-
|-
| rowspan="3" |Be
| rowspan="3" |Be
Line 3,314: Line 3,316:
|vM6
|vM6
| rowspan="3" |P1
| rowspan="3" |P1
| rowspan="2" |vm3
|vm3
|Fa
|Fa
|Lo
|Lo
| rowspan="3" |Da
| rowspan="3" |Da
| rowspan="2" |No
|No
| - ,,0 ,,0 ,3 ,1 -
| - ,,0 ,,0 ,3 ,1 -
| - 8 8 7 5 -
| - 8 8 7 5 -
| - 8 8 7 5 - -
| - 8 8 7 5 - -
Line 3,327: Line 3,329:
|vm3
|vm3
|vm6
|vm6
|d5
|No
|No
|Flo
|Flo
| - ,0 ,2 ,3 ,1 -
|Sha
| - 4 6 7 5 -
| - ,0 ,2 ,3 ,1 -
| - 4 6 7 5 - -
| - 4 6 7 - 4
|vbVI^  
| - 4 6 7 - 4 -
|addlo5
|vbVI^7
|IVvm7noR
|lo5
|addlo7
|-
|-
|P1
|P1
Line 3,348: Line 3,350:
|Iv
|Iv
|hi3add8
|hi3add8
| colspan="2" |
|}
|}
[[File:Whisper Words of Wisdom 41edo small.png|frameless|779x779px]]
[[File:Whisper Words of Wisdom 41edo small.png|frameless|779x779px]]
Line 3,363: Line 3,364:
* Baritone: P1 to vm7
* Baritone: P1 to vm7
* Bass: P1 to vm10
* Bass: P1 to vm10
 
[[File:Baby Please Don't Go ^v.png|690x690px]]
{| class="wikitable"
{| class="wikitable"
|+
|+
Line 3,789: Line 3,790:
|}
|}


=== 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
|vM3
|Da
|Sa
|Mo
|Iv
|hi3add8
|Iy
| colspan="3" |
|}
== World Music, Microtonal Music, etc. ==
== World Music, Microtonal Music, etc. ==


Line 4,026: Line 4,386:
source: https://www.youtube.com/watch?v=AfXV_aDuDcg?t=96  
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.
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 4,034: Line 4,394:
!chords
!chords
!8-string tab
!8-string tab
hi37 voicing
[[Hi-lo notation|hi37 voicing]]
!6-string tab
!6-string tab
lo5 voicing
[[Hi-lo notation|lo5 voicing]]
!6-string tab
!6-string tab
hi3 voicing
[[Hi-lo notation|hi3 voicing]]
|-
|-
|IvM7
|IvM7
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