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| == By Kite Giedraitis == | | == By Kite Giedraitis == |
| {{Main|Kite Guitar Originals by Kite Giedraitis}}
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| * [[Kite Guitar Originals by Kite Giedraitis#Evening%20Rondo|1 Evening Rondo]] | | * [[Kite Guitar Originals by Kite Giedraitis#Evening%20Rondo|1 Evening Rondo]] |
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| * [[Kite Guitar Originals by Kite Giedraitis#Latrizo%20Pump%20riff|11 Latrizo Pump riff]] | | * [[Kite Guitar Originals by Kite Giedraitis#Latrizo%20Pump%20riff|11 Latrizo Pump riff]] |
| * [[Kite Guitar Originals by Kite Giedraitis#6-chord%20riff|12 6-chord riff]] | | * [[Kite Guitar Originals by Kite Giedraitis#6-chord%20riff|12 6-chord riff]] |
| * [[Kite Guitar Originals by Kite Giedraitis#V9%20-%20I7%20riff|13 V9 - I7 riff]] | | * [[Kite Guitar Originals by Kite Giedraitis#Yin Yang riff|13 Yin Yang riff]] |
| * [[Kite Guitar Originals by Kite Giedraitis#Im7%20-%20V7%20riff|14 Im7 - V7 riff]] | | * [[Kite Guitar Originals by Kite Giedraitis#Im7%20-%20V7%20riff|14 Im7 - V7 riff]] |
| * [[Kite Guitar Originals by Kite Giedraitis#Fun%20riff|15 Fun riff]] | | * [[Kite Guitar Originals by Kite Giedraitis#Fun%20riff|15 Fun riff]] |
| * [[Kite Guitar Originals by Kite Giedraitis#Mid-9th%20riff|16 Mid-9th riff]] | | * [[Kite Guitar Originals by Kite Giedraitis#Cloud%20Chant|16 Cloud Chant]] |
| * [[Kite Guitar Originals by Kite Giedraitis#James-Bond-ish%20riff|17 James-Bond-ish riff]] | | * [[Kite Guitar Originals by Kite Giedraitis#Mid-9th%20riff|17 Mid-9th riff]] |
| * [[Kite Guitar Originals by Kite Giedraitis#Downminor%20riff|18 Downminor riff]] | | * [[Kite Guitar Originals by Kite Giedraitis#James-Bond-ish%20riff|18 James-Bond-ish riff]] |
| | * [[Kite Guitar Originals by Kite Giedraitis#Downminor%20riff|19 Downminor riff]] |
| | * [[Kite Guitar Originals by Kite Giedraitis#Harmonic%20Blues|20 Harmonic Blues]] |
| | * [[Kite Guitar Originals by Kite Giedraitis#Tiny%20Steps|21 Tiny Steps]] |
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| == By Praveen Venkataramana == | | == By Praveen Venkataramana == |
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| * [[Kite Guitar Originals by Praveen Venkataramana#Roller%20Coaster%20Etude|4 Roller Coaster Etude]] | | * [[Kite Guitar Originals by Praveen Venkataramana#Roller%20Coaster%20Etude|4 Roller Coaster Etude]] |
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| == How to read the scores == | | == By Wilckerson Ganda == |
| | [https://youtu.be/gQERKtbkMCE Vintage Rock] |
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| ===Notes === | | == By Devin Ulibarri == |
| The octave is divided into 41 equal steps, a tuning called 41-ET or 41edo or 41-equal. Whereas 12-equal has 100¢ steps, 41-equal has steps of 29.27¢. We can round this off to 30¢ for convenience, since a cent or two doesn't matter much in practice. This 30¢ interval is called an arrow, because the little arrows by the noteheads raise or lower the pitch by 30¢. Notes are called up-E, down-F-sharp, etc., written ^E and vF#. A note that has no ups or downs is called plain. The 7 plain natural notes are close to 12-equal, but they do deviate slightly. The pattern is easy to see when the notes are arranged in chain-of-5ths order:
| | [https://www.youtube.com/watch?v=BO75A1DZoAg Cherry, Plum, Peach, and Damson] at FOSSY24 |
| {| class="wikitable center-all"
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| |+
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| | style="width:40px;" |Ab
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| | style="width:40px;" |Eb
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| | style="width:40px;" |Bb
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| | style="width:40px;" |F
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| | style="width:40px;" |C
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| | style="width:40px;" |G
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| | style="width:40px;" |D
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| | style="width:40px;" |A
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| | style="width:40px;" |E
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| | style="width:40px;" |B
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| | style="width:40px;" |F#
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| | style="width:40px;" |C#
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| | style="width:40px;" | G#
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| |-
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| | -15¢
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| | -12.5¢
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| | -10¢
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| | -7.5¢
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| | -5¢
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| | -2.5¢
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| |0¢
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| | +2.5¢
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| | +5¢
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| | +7.5¢
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| | +10¢
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| | +12.5¢
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| | +15¢
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| |}
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| All the notes with sharps are extra-sharp. All the notes with flats are extra-flat. Note that G# is sharper than Ab by one arrow. Thus G# is also ^Ab, and Ab is also vG#. (Likewise C# = ^Db, vD# = Eb, etc.) Since G# ≠ Ab, the familiar circle of 12 fifths opens up into a spiral. Because this spiral is really a circle of 41 fifths, the innermost and outermost few notes are duplicates.
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| [[File:41-edo spiral with notes and cents.png|left|thumb|400x400px]] | |
| [[File:41-edo spiral.png|center|thumb|400x400px]]
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| In the table, D is the "anchor note" that agrees with standard tuning exactly. D is an ideal anchor because it makes the table symmetrical. But F, C, G and A have all been used by microtonalists historically. If hired to record a part remotely, always ask what the anchor note is!
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| Assuming D is the anchor note, let's find some pitches. ^D is 30¢ sharp and vD is 30¢ flat. F# is +10¢, so vF# is -20¢. C is -5¢, so vC is -35¢. In certain situations, double arrows are needed. ^^C is called dup-C and vvC# is dud-C-sharp. Note that ^^C = vvC#. One more equivalence: ^^C = vDb. Thus 3 arrows = a minor 2nd. These equivalences are useful, because if you've already found vDb on your instrument, and you see ^^C on the score, you know what to do.
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| *one arrow = half a fret = a quarter-sharp or quarter-flat
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| *two arrows = one fret = half a sharp/flat
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| *three arrows = 1.5 frets = a minor 2nd
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| *four arrows = two frets = one sharp/flat = an augmented unison
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| This table lists all the notes and intervals. Mid intervals, written with "~", are midway between major and minor.
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| {| class="wikitable right-3 center-all"
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| !41-equal note
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| ! colspan="2" |tuning
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| !interval from D
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| |-
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| |D
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| |D
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| | +0¢
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| |P1
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| |-
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| |^D
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| |D
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| | +29¢
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| |^1
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| |-
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| |^^D / vvD# / vEb
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| |Eb
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| | -41¢
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| |^^1 / vvA1 / vm2
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| |-
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| |vD# / Eb
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| | Eb
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| | -12¢
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| | vA1 / m2
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| |-
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| |D# / ^Eb
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| |Eb
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| | +17¢
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| |A1 / ^m2
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| |-
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| |^D# / ^^Eb / vvE
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| |Eb
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| | +46¢
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| |^A1 / ~2
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| |-
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| |vE
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| |E
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| | -24¢
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| |vM2
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| |-
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| |E
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| | E
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| | +5¢
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| |M2
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| |-
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| |^E / vvF
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| |E
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| | +34¢
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| | ^M2
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| |-
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| |^^E / vF
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| |F
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| | -37¢
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| |vm3
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| |-
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| |F
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| | F
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| | -7¢
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| |m3
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| |-
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| |^F
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| |F
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| | +22¢
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| |^m3
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| |-
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| |^^F / vvF# / vGb
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| |F#
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| | -49¢
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| |~3
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| |-
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| |vF# / Gb
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| |F#
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| | -20¢
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| |vM3
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| |-
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| |#F / ^Gb
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| |F#
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| | +10¢
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| |M3
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| |-
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| |^F# / ^^Gb / vvG
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| |F#
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| | +39¢
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| |^M3
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| |-
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| |vG
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| |G
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| | -32¢
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| |v4
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| |-
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| |G
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| | G
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| | -2¢
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| |P4
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| |-
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| |^G
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| |G
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| | +27¢
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| |^4
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| |-
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| |^^G / vvG# / vAb
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| |G#
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| | -44¢
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| |~4 / vd5
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| |-
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| |vG# / Ab
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| | G#
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| | -15¢
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| |vA4 / d5
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| |-
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| |#G / ^Ab
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| |G#
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| | +15¢
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| |A4 / ^d5
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| |-
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| |^G# / ^^Ab / vvA
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| |G#
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| | +44¢
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| |^A4 / ~5
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| |-
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| |vA
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| |A
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| | -27¢
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| |v5
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| |-
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| |A
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| |A
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| | +2¢
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| |P5
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| |-
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| |^A
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| |A
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| | +32¢
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| |^5
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| |-
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| |^^A / vvA# / vBb
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| |Bb
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| | -39¢
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| |^^5 / vvA5 / vm6
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| |-
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| |vA# / Bb
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| | Bb
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| | -10¢
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| | vA5 / m6
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| |-
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| |A# / ^Bb
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| | Bb
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| | +20¢
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| |A5 / ^m6
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| |-
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| |^A# / ^^Bb / vvB
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| |Bb
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| | +49¢
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| | ^A5 / ~6
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| |-
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| |vB
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| |B
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| | -22¢
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| |vM6
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| |-
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| |B
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| | B
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| | +7¢
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| |M6
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| |-
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| |^B / vvC
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| |B
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| | +37¢
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| | ^M6
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| |-
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| |^^B / vC
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| |C
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| | -34¢
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| |vm7
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| |-
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| |C
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| | C
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| | -5¢
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| |m7
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| |-
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| |^C
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| |C
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| | +24¢
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| |^m7
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| |-
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| |^^C / vvC# / vDb
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| |C#
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| | -46¢
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| |~7
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| |-
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| |vC# / Db
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| |C#
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| | -17¢
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| | vM7
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| |-
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| |#C / ^Db
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| |C#
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| | +12¢
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| |M7
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| |-
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| |^C# / ^^Db / vvD
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| |C#
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| | +41¢
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| |^M7
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| |-
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| |vD
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| |D
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| | -29¢
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| |v8
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| |-
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| |D
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| |D
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| | +0¢
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| |P8
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| |}
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| So how exactly would a vocalist or violinist or trombonist tune a precise number of cents sharp or flat? It helps to borrow a Kite guitar and familiarize oneself with the sound of the various intervals. It also helps to understand just intonation. See the [https://kiteguitar.com/what-it-is/ "What it is -- long explanation"] page for an overview. In practice, use the ups and downs as a rough guide, then listen to the other parts and try to blend. For example, the downmajor 3rd from D to vF# is 380¢, very close to the just 5/4 of 386¢. So one simply flattens the F# until the interference beats go away. But wait, should the 3rd be 380¢ or 386¢? In general, deviating slightly from 41-equal is fine, if it makes the chord smoother. The just harmonic 7th is only 3¢ sharp of the 41-equal downminor 7th, so such deviation is even less of an issue.
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| Of course, not all composers use simple JI ratios in their harmonies!
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| See also: [[Ups and downs notation]]
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| ===Key signatures===
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| The key signature is divided into two regions. The #/b region is as usual, except it can also have ## and bb. The arrow region consists of up to two arrow stacks, a quadruple one for the tonic, 2nd 4th and 5th, and a triple one for the 3rd, 6th and 7th. Both stacks always have the same shape. The quadruple stack has 2 columns of arrows with the lowest arrow indicating the tonic. The triple stack has the lowest arrow on the 3rd. Down-A downmajor looks like this:
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| [[File:VA vMajor keysig.png]]
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| The scale is vA vB vvC# vD vE vvF# vvG# vA. Down-A upmajor would omit the triple stack. Down-A plain major would have a triple stack with downs instead of duds.
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| ===Cancelling rules=== | |
| TODO: Complete this
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| === Chord names===
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| Any chord name without ups or downs is exactly what one would expect it to be. Cm7 is still C Eb G Bb. But in practice most chords have ups and downs in them. An up or down between the chord root and the chord type (e.g. C^m7) raises or lowers the 3rd, and also the 6th, 7th or 11th, if present. Thus C down-seven is the usual C7 chord with the 3rd and 7th downed: Cv7 = C vE G vBb. Mnemonic: every other note of a stacked-3rds chord with a 6th below the root is affected: '''6th''' - root - '''3rd''' - 5th - '''7th''' - 9th - '''11th''' - 13th. Note that the 6th is affected, but the 13th is not.
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| If the 3rd is downed but the minor 7th is not, the chord is named C-down add7, written Cv,7. The comma before the 7 means "add". Analogous to M and m, "a" means augmented and "d" means diminished. Half-diminished chords are named as dim add7 chords. For example, C ^Eb Gb ^Bb is C^d^7.
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| Alterations are enclosed in parentheses, additions never are. For example Cv(vv#5) is C vE vvG#.
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| See also:
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| *[[41edo Chord Names]]
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| *[[Kite Guitar Chord Shapes (downmajor tuning)]]
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| | [https://youtu.be/s8pnSlNaK_g Cherry, Plum, Peach, and Damson] |
| [[Category:Kite Guitar]] | | [[Category:Kite Guitar]] |
| [[Category:Guitar]] | | [[Category:Guitar]] |
| [[Category:41edo]] | | [[Category:41edo]] |