Kite Guitar chord shapes (downmajor tuning): Difference between revisions

See also: [[41edo Chord Names|'''41edo Chord Names''']]

There are many chords on the [[The_Kite_Guitar|Kite Guitar]] to explore, but the obvious place to start is with those of [[odd-limit|intervallic odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the 9/(9:7:6:5:4) pentad. Thus most of these chords can be classified as either '''harmonic''' or '''subharmonic'''. Chords such as vM7, ^m7, vm7 and v6 are classified as '''stacked''' chords, because they are formed by stacking complimentary 3rds. Many chords fall outside these 3 categories.  

'''Homonyms''' are to chords what modes are to scales. C6 and Am7 are homonyms (same notes, different root). In theory, every tetrad has 3 other homonyms, but in practice many are too implausible (e.g. Am7 = G6/9sus4no5). Most tetrads and pentads have at least one plausible homonym.  

Chords are named using [[Ups and Downs Notation|ups and down notation]], see the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.  

!chord type ---->

!sus4

!up or

!down or

!upminor

!downminor

!sus2

!updim

!downdim

!example, with homonym

!C4 = F2

!C^ (C^,9)

!Cv (Cv,9)

!C^m

!Cvm

!C2 = G4

!C^dim or C^d

!Cvdim or Cvd

!example notes

!C F G

!C ^E G

!C vE G

!C ^Eb G

!C vEb G

!C D G

!C ^Eb Gb

!C vEb Gb

!ratio of the 3rd

!P4 = 4/3

!^M3 = 9/7

!vM3 = 5/4

!^m3 = 6/5

!vm3 = 7/6

!M2 = 9/8

!^m3 = 6/5

!vm3 = 7/6

!ratio of the 5th

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!d5 = 7/5

!d5 = 7/5

|'''<u>close voicing</u> R 3 5 8 (9)'''

| colspan="8" |

|frets

|4 6 3 5

|4 5 3 5 (2)

|4 4 3 5 (2)

|4 3 3 5

|4 2 3 5

|4 1 3 5

|4 3 1 5

|4 2 1 5

|suggested fingerings

|2 4 1 3

|2 3 1 4

|2 3 1 4

|2 1 1 3

|3 1 2 4

|3 1 2 4

|3 2 1 4

|3 2 1 4

|'''<u>open or hi3 voicing</u> R 5 8 3'''

| colspan="8" |

|frets

|4 . 3 5 7

|4 . 3 5 6

|4 . 3 5 5

|4 . 3 5 4

|4 . 3 5 3

|4 . 3 5 2

|4 . 1 5 4

|4 . 1 5 3

|suggested fingerings

|2 . 1 3 4

|2 . 1 3 4

|2 . 1 3 4

|2 . 1 4 3

|3 . 1 4 2

|3 . 2 4 1

|2 . 1 4 3

|3 . 1 4 2

|'''<u>hiR voicing</u> 3 5 8 (9) (1st inversion''')

| colspan="8" |

|frets

|5 2 4

|4 2 4 (1)

|3 2 4 (1)

|2 2 4

|1 2 4

|0 2 4

|2 0 4

|1 0 4

|suggested fingerings

|4 1 3

|2 1 3

|2 1 3

|1 1 3

|1 2 4

|1 2 4

|2 1 4

|2 1 4

|'''<u>addlo5 voicing</u> 5 R 3 5 (2nd inversion)'''

| colspan="8" |

|frets

|2 4 6 3

|2 4 5 3

|2 4 4 3

|2 4 3 3

|2 4 2 3

|2 4 1 3

| rowspan="2" |(difficult)

| rowspan="2" |(difficult)

|suggested fingerings

|1 3 4 2

|1 3 4 2

|1 3 4 2

|1 4 2 3

|1 3 1 2

|2 4 1 3

!chord type ---->

!downmajor7

!up7

!down7

!upminor7

!downminor7

!updim up7

!downdim

!dom7sus4no5

!example, with  

!CvM7  

!C^7  

!Cv7  

!C^m7 = ^Ebv6  

!Cvm7

!C^d^7

!Cvdv7

!C7sus4no5

!example notes

!C vE G vB

!C ^E G ^Bb

!C vE G vBb

!C ^Eb G ^Bb

!C vEb G vBb

!C ^Eb Gb ^Bb

!C vEb Gb vBb

!C F Bb

!ratio of the 3rd

!vM3 = 5/4

!^M3 = 9/7

!vM3 = 5/4

!^m3 = 6/5

!vm3 = 7/6

!^m3 = 6/5

!vm3 = 7/6

!P4 = 4/3

!ratio of the 5th

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!d5 = 7/5

!d5 = 7/5

!ratio of the 7th

!vM7 =15/8

!^m7 = 9/5

!vm7 = 7/4

!^m7 = 9/5

!vm7 = 7/4

!^m7 = 9/5

!vm7 = 7/4

!m7 = 16/9

| colspan="9" |'''<u>close voicing</u> R 3 5 7 (9)'''

|frets

|4 4 3 3 (2)

|4 5 3 2 (2)  

|4 4 3 1 (2)

|4 3 3 2 (2)

|4 2 3 1

|4 3 1 2

|4 2 1 1

|4 6 8

|suggested

|3 4 2 2 (1)

|3 4 2 1 (1)

|3 4 2 1

|4 2 3 1 (1)

|4 2 3 1

|4 3 1 2

|4 2 1 1

|1 3 4

| colspan="9" |'''<u>hi3 voicing</u> R 5 7 3'''

|frets

|4 . 3 3 5

|4 . 3 2 6

|4 . 3 1 5

|4 . 3 2 4

|4 . 3 1 3

|4 . 1 2 4

|4 . 1 1 3

| rowspan="2" |(difficult)

|suggested

|2 . 1 1 3

|3 . 2 1 4

|3 . 2 1 4

|3 . 2 1 4

|4 . 2 1 3

|3 . 1 2 4

|4 . 1 1 3

| colspan="9" |'''<u>lo5 voicing</u> 5 R 3 (5) 7 (9)'''

|frets

|2 4 4 (3) 3 (2)

|2 4 5 (3) 2 (2)

|2 4 4 (3) 1 (2)

|2 4 3 (3) 2 (2)

|2 4 2 (3) 1

| rowspan="2" |(difficult)

| rowspan="2" |(difficult)

| rowspan="2" |(difficult)

|suggested

|1 3 4 (2) 2 (1)

|1 3 4 (2) 1 (1)

|2 3 4  .  1

|1 4 3 . 2 (2)

|2 4 2 (3) 1

| colspan="9" |'''<u>lo7 voicing</u> 7 R 4 5'''

|frets

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

|7 4 6 8

|suggested

|3 1 2 4

* the upminor-7 flat-9 chord = C^m7,b9 = C ^Eb G ^Bb Db = 4 3 3 2 0

* the downminor-7 flat-9 chord = Cvm7,b9 = C vEb G vBb Db = 4 2 3 1 0

The upminor 9th (15/7) is also possible, but hard to play, Example: the downmajor-7 upflat-9 chord = CvM7,^b9 = C vE G vB ^Db. Note that ^Db is enharmonically equivalent to C#, the augmented 8ve. Thus this chord's homonym is vE^m6/C.

Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it's only possible for root-6 chords (root on the 6th string). Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and hi6add8 (R 3 5 8 6).

Adding a major 9th (ratio 9/4) to any of these chords will make an offperfect 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. Cv6,v9no5 is the same as vD^9no3 (or vD^m9no3). C^6,^9no5 is ^Dv9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.

!chord type ---->

!up6 or

!down6 or

!upminor6

!downminor6

!example, with homonym(s)

!C^6 = ^Avm7

!Cv6 = vA^m7

!C^m6 = ^Avdv7

!Cvm6 = vA^d^7

!example notes

!C ^E G ^A

!C vE G vA

!C ^Eb G ^A

!C vEb G vA

!ratio of the 3rd

!^M3 = 9/7

!vM3 = 5/4

!^m3 = 6/5

!vm3 = 7/6

!ratio of the 5th

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!P5 = 3/2

!ratio of the 6th

!^M6 = 12/7

!vM6 = 5/3

!^M6 = 12/7

!vM6 = 5/3

|'''<u>close voicing for riffing</u> R 3 5/6 (8)'''

| colspan="4" |

|frets

|4 5 3/7

|4 4 3/6

|4 3 3/7 (5)

|4 2 3/6

|suggested fingerings

|2 3 1/4

|2 3 1/4

|2 1 1/4 (3)

|3 1 2/4

|'''<u>close no5add8 voicing</u> R 3 6 8'''

| colspan="4" |

|homonyms

|C^6no5 = ^Avm

|Cv6no5 = vA^m

|C^m6no5 = ^Avd

|Cvm6no5 = vA^d

|frets

|4 5 7 5

|4 4 6 5

|4 3 7 5

|4 2 6 5

|suggested fingerings

|1 2 4 3

|1 1 3 2

|2 1 4 3

|2 1 4 3

|'''<u>lo6 voicing</u> 6 R 3 5 (11)'''

| colspan="4" |

|frets

|6 4 5 3

|5 4 4 3

|6 4 3 3 . (7)

|5 4 2 3

|suggested fingerings

|4 2 3 1

|4 2 3 1

|4 2 1 1

|4 3 1 2

|'''<u>lo5 voicing</u> 5 R 3 6'''

| colspan="4" |

|frets

|2 4 5 7

|2 4 4 6

|2 4 3 7

|2 4 2 6

|suggested fingerings

|1 2 3 4

|1 2 3 4

|1 3 2 4

|1 3 1 4

|'''<u>hi35 voicing</u> R (4) 6 (8) 3 5'''

| colspan="4" |

|frets

|4 . 7 . 6 4

|4 . 6 (5) 5 4

|4 (6) 7 (5) 4 4

|4 . 6 (5) 3 4

|suggested fingerings

|1 . 4 . 3 2

|1 . 4 . 3 2

|1 (3) 4 (2) 1 1

|T . 4 (3) 1 2

The sus4downmajor7 chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of C4,vM7 = C F G vB is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but "b5" means add a flat 5th alongside the perfect 5th.

!example w homonym

!Cv,7no5 = Bb2(b5)

!C4,vM7 = F2,b5

!CvM7(b5) = vE2^m6

!Cv7(b5) = Gbv,7(^b5)

!Cv(b5)

!Cv,b5

!CvM9v#11

!example notes

!C vE Bb

!C F G vB

!C vE Gb vB

!C vE Gb vBb

!C vE Gb

!C vE Gb G

!C vE G vB D vF#

!ratio of the 3rd

!vM3 = 5/4

!P4 = 4/3

!vM3 = 5/4

!vM3 = 5/4

!vM3 = 5/4

!vM3 = 5/4

!vM3 = 5/4

!ratio of the 5th

!P5 = 3/2

!d5 = 7/5

!d5 = 7/5

!d5 = 7/5

!P5 = 3/2

!P5 = 3/2

!ratio of the 7th

!m7 = 16/9

!vM7 = 15/8

!vM7 = 15/8

!vm7 = 7/4

!vM7 =15/8

!other

!d5 = 7/5

!v#11 = b12 = 14/5

| colspan="8" |'''<u>close voicing</u> R 3 5 7 (8)'''

|frets

|4 4 8 (5) (5) (4)

|4 6 3 3

|4 4 1 3

|4 4 1 1

|4 4 1 (5)

|4 4 1/3

|4 4 3 3 2 2

|suggested fingerings

|1 1 4 (2) (2) (1)

|2 4 1 1

|3 4 1 2

|3 4 1 1

|3 4 1<br>2 3 1 (4)

|3 4 1/2

|3 4 2 2 1 1

| colspan="8" |'''<u>hi3 voicing</u> R 5 7 (8) 3'''

|frets

|4 . 8 (5) 5

|4 . 3 3 7

|4 . 1 3 5

|4 . 1 1 5

|4 . 1 (5) 5

|4 . 1/3 (5) 5

|4 . 3 3 5 2 (no 9th)

|suggested fingerings

|1 . 4 . 2<br>1 . 4 (1) 1

|2 . 1 1 4

|3 . 1 2 4

|3 . 1 1 4

|2 . 1 (3) 4

|3 . 1/2 . 4<br>2 . 1/3 (3) 4

|2 . 3 3 4 1

| colspan="8" |'''<u>lo5 voicing</u> 5 R 3 7'''

|frets

| rowspan="2" |(N/A)

| rowspan="2" |(difficult)

|0 4 4 . 3

|0 4 4 . 1

| rowspan="2" |(difficult)

|2 4 4 1

|2 4 4 . 3 2 2  

|suggested fingerings

|1 3 4 . 2

|1 3 4 . 2

|2 3 4 1

|1 3 4 . 2 1 1

| colspan="8" |'''<u>lo7 voicing</u> 7 R 3 (7)'''

|frets

|7 4 4 (8)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

| rowspan="2" |(N/A)

|suggested fingerings

|3 1 1 (4)

There is another trio of aug chords: up-halfaug, upminor-halfaug and up-dupaug, all homonyms. Dup is short for double-up. Their innate comma is the [[Sensamagic chords|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it really can't be called an augmented chord. The up-dupaug chord has ^^#5, a dupaugmented 5th. This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord. In close voicing it uses every 3rd note of the [[Bohlen-Pierce|Bohlen-Pierce 13ED3 scale]].   

!example with homonyms

!C^a = ^Ev(vv#5)

!Cva = vE^a

!Cv(vv#5) = vEva

!C^(^^5) = ^E^m(^^5)

!C^m(^^5) = ^Eb^(^^#5)

!C^(^^#5) = ^E^(^^5)

!example notes

!C ^E G#

!C vE G#

!C vE vvG#

!C ^E ^^G

!C ^Eb ^^G

!C ^E ^^G#

!3rd

!^M3 = 9/7

!vM3 = 5/4

!vM3 = 5/4

!^M3 = 9/7

!^m3 = 6/5

!^M3 = 9/7

!5th

!A5 = ^m6 = 8/5

!A5 = ^m6 = 8/5

!vvA5 = vm6 = 14/9

!^^5 = vm6 = 14/9

!^^5 = vm6 = 14/9

!^^A5 = vM6 = 5/3

| colspan="7" |'''<u>close voicing</u> R 3 5 (8)'''

|frets

|4 5 5 (5)

|4 4 5 (5)

|4 4 4 (5)

|4 5 4 (5)

|4 3 4 (5)

|4 5 6 (5)

|fingerings

|1 2 2 (2)

|1 1 2 (2)

|1 1 1 (2)

|1 3 2 (4)

|2 1 3 (4)

|1 2 4 (3)

| colspan="7" |'''<u>hi3 voicing</u> R 5 (8) 3'''

|frets

|4 . 5 (5) 6

|4 . 5 (5) 5

|4 . 4 (5) 5

|4 . 4 (5) 6

|4 . 4 (5) 4

|4 . 6 (5) 6

|fingerings

|1 . 2 (2) 3

|1 . 2 (2) 2

|1 . 1 (2) 2

|1 . 1 (2) 3

|1 . 2 (4) 3

|1 . 3 (2) 4

| colspan="7" |'''<u>hiR voicing</u> 3 5 8 (3) (1st inversion)'''

|

|see v(vv#5)

|see ^a

|see va

|see ^m(^^5)

|see ^(^^#5)

|see ^(^^5)

| colspan="7" |'''<u>lo5 voicing</u> 5 R 3 (5) (2nd inversion)'''

|

|see va

|see v(vv#5)

|see ^a

|see ^(^^#5)

|see ^(^^5)

|see ^m(^^5)

!example with homonym

!C^d7 = ^Ebvd6

!Cvd6 = vA^d7

!Cvd7 = vEb^d6

!C^d6 = ^Avd7

!example notes

!C ^Eb Gb ^Bbb

!C vEb Gb vA

!C vEb Gb vBbb

!C ^Eb Gb ^A

!3rd

!^m3 = 6/5

!vm3 = 7/6

!vm3 = 7/6

!^m3 = 6/5

!5th

!d5 = 7/5

!d5 = 7/5

!d5 = 7/5

!d5 = 7/5

!6th or 7th

!^d7 = M6 = 27/16

!vM6 = 5/3

!vd7 = ~6 = 13/8

!^M6 = 12/7

| colspan="5" |'''<u>close voicing</u> R 3 5 7 or R 3 5/6'''

|frets

|6 5 3 2

|6 4 3/8

|6 4 3 1

|6 5 3/9

|fingerings

|4 3 2 1

|3 2 1/4

|4 3 2 1

|3 2 1/4

| colspan="5" |'''<u>hi3 voicing</u> R 5 7 3'''

|frets

| rowspan="2" |(N/A)

|6 . 3 1 5

|fingerings

|3 . 2 1 4

|3 . 2 1 4

| colspan="5" |'''<u>hi35 voicing</u> R 6 (8) 3 5'''

|frets

| rowspan="2" |(difficult)

|4 . 6 (5) 3 2

| rowspan="2" |(difficult)

|3 . 6 (4) 3 1

|fingerings

|T . 4 (3) 2 1

|T . 4 (3) 2 1

|downminor mid-5

|downminor-7 mid-5

|Cvm7(~5)

|C vEb vvG vBb

|4 2 2 1 <u>or</u> 4 . 2 1 3

|vEbv,^6

|down up-6

|Cv,^6

|C vE G ^A

|4 . 7 (5) 5 4

|^Avm7(~5)

|upminor mid-5

|C^m(~5)

|C ^Eb ^^Gb

|4 3 2

|

|upminor-7 mid-5

|C^m7(~5)

|C ^Eb ^^Gb ^Bb

|4 3 2 2 <u>or</u> 4 . 2 2 4

|^Eb^m,v6

|upminor down-6

|C^m,v6

|C ^Eb G vA

|4 . 6 (5) 4 4

|vA^m7(~5)

|downmajor mid-5

|Cv(~5)

|C vE vvG

|4 4 2

|

|downmajor-7 mid-5

|CvM7(~5)

|C vE vvG vB

|4 4 2 3 <u>or</u> 4 . 2 3 5

|

!example

!Cv,^7 or Cv9(^7)

!example notes

!C vE G ^Bb (D)

!ratio of the 3rd

!vM3 = 5/4

!ratio of the 5th

!P5 = 3/2

!ratio of the 7th

!^m7 = 9/5

!ratio of the 9th

!(M9 = 9/4)

|'''<u>close voicing</u> R 3 5 7 (9)'''

|

|frets

|4 4 3 2 (2)  

|suggested fingerings

|3 4 2 1 (1)

|'''<u>hi3 voicing</u> R 5 7 3'''

|

|frets

|4 . 3 2 5

|suggested fingerings

|3 . 2 1 4

|'''<u>addlo5 voicing</u> 5 R 3 5 7 (9)'''

|

|frets

|2 4 4 3 2 (2)

|suggested fingerings

|1 3 3 2 1 (1)

|'''<u>noRaddlo7 voicing</u> 7 3 5 7'''

|

|frets

|1 4 3 2

|suggested fingerings

|1 4 3 2

=== 12-edo Major Thirds Tuning ===