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Kite Guitar translations by Kite Giedraitis: Difference between revisions

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=== Amazing Grace (trad.) ===
=== 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.  


6-string version in A downmajor:
6-string version in A downmajor:
Line 198: Line 198:


=== Wade In The Water (trad. spiritual) ===
=== Wade In The Water (trad. spiritual) ===
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.
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>
<tt>
Line 1,021: Line 1,021:
  |  -  -  -  -  -  -  -  - |  1  -  -  -  3  -  -  - |  1  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
  |  -  -  -  -  -  -  -  - |  1  -  -  -  3  -  -  - |  1  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
  |  0  -  -  -  3  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  
  |  0  -  -  -  3  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  
</tt>
=== Nowhere (Angela Mair) ===
Source: https://www.youtube.com/watch?v=5-49jLxcCJQ <br>
12edo 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.
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.
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.
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.
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 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.
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.
<tt>
A part
| - - - - - - - - | 0 - - - - - 0 - | 3 - - - 3 - 0 - | - - - - - - - - |
| - - - - - - 3 - | - - - - - - - - | - - - - - - - - | 3 - - - - - - - |
| 2 - - - 2 - - - | - - 0 - - - - - | - - 2 - - - - - | - - - - 2 - - - |
| - - 0 - - - - - | - - - - 0 - - - | - - - - - - - - | - - 0 - - - - - |
| - - - - - - - - | 0 - - - - - - - | 2 - - - - - - - | - - - - - - - - |
| 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 - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - 3 - | 5 - 3 - - - - - | - - - - - - - - | - - - - - - - - |
| 2 - - - 2 - - - | - - - - 2 - 0 - | 2 - - - - - 2 - | - - - - - - - - |
| - - - - - - - - | 3 - - - - - - - | - - - - 0 - - - | - - - - - - - - |
| - - 0 - - - - - | - - - - 0 - - - | - - 2 - - - - - | 0 - - - - - - - |
| - - - - - - - - | 3 - - - - - - - | 0 - - - - - - - | - - - - - - - - |
| 3 - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - 0 - - - | - - - - - - - - | - - - - - - - - |
B part
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - 3 - | 0 - - - - - - - | - - - - - - 0 - | - - - - - - - - |
| - - - - 2 - - - | - - 2 - 0 - - - | - - - - 0 - - - | 2 - 0 - - - - - |
| - - 3 - - - - - | - - - - - - 3 - | - - 1 - - - - - | - - - - 3 - 0 - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| 3 - - - - - - - | g - - - - - - - | - - - - - - - - | 3 - - - 0 - - - |
| - - - - - - - - | - - - - - - - - | 0 - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - 0 - - - | i - g - 3 - 0 - |
| - - - - - - 3 - | 0 - - - - - - - | 3 - - - - - - - | - - - - - - - - |
| - - - - 2 - - - | - - 2 - 0 - - - | - - - - - - - - | - - - - - - - - |
| - - 3 - - - - - | - - - - - - 0 - | - - 0 - - - 0 - | - - - - 0 - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - - - - - | 0 - - - - - - - | - - - - - - - - |
| - - - - - - - - | 0 - - - - - - - | - - - - g - - - | 3 - - - - - - - |
| 2 - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - 3 - | 0 - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - 2 - - - | - - 2 - 0 - - - | - - - - - - 0 - | 0 - 2 0 - - - - |
| - - 3 - - - - - | - - - - - - 0 - | - - - - 0 - - - | 0 - - - 3 - - - |
| - - - - - - - - | - - - - - - - - | - - 0 - - - - - | - - - - 2 - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | 0 - - - - - - - | - - - - - - - - | - - - - - - - - |
| 2 - - - - - - - | - - - - - - - - | 0 - - - - - - - | 2 - - - - - - - |
 
| - - - - - - - - | - - - - - - - - |
| - - - - - - 5 - | 3 - 0 - - - - - |
| - - - - 5 - - - | - - - - 2 - 0 - |
| - - 3 - - - - - | 0 - - - - - - - |
| - - - - - - - - | - - - - - - - - |
| 3 - - - - - - - | - - - - - - - - |
| - - - - - - - - | 0 - - - - - - - |
| - - - - - - - - | - - - - - - - - |
</tt>
</tt>


Line 1,736: Line 1,834:
=== The Pink Panther Theme (Henri Mancini) ===
=== The Pink Panther Theme (Henri Mancini) ===
Source: https://www.youtube.com/watch?v=th1WRzHfooI
Source: https://www.youtube.com/watch?v=th1WRzHfooI
Recording: https://www.tallkite.com/music/PinkPanther.mp3
The 59¢ steps really bring this melody to life!


Chords
Chords
<tt>
<tt>
  E^m  /  /  /  |  /  /  /  /   (intro)
intro E^m  /  /  /  |  /  /  /  /  
E^m  /  /  /  |  /  /  /  /  
        E^m  /  /  /  |  /  /  /  /  
   
   
E^m  /  /  /  |  /  /  /  /
        E^m  /  /  /  |  /  /  /  /
^Cv7  /  /  /  |  /  /  /  /  
        ^Cv7  /  /  /  |  /  /  /  /  
E^m  /  /  /  |  /  /  /  /  
        E^m  /  /  /  |  /  /  /  /  
^Fv7  /  /  /  |  /  /  /  /  
        ^Fv7  /  /  /  |  /  /  /  /  
   
   
E^m  /  /  /  |  /  /  /  /  
        E^m  /  /  /  |  /  /  /  /  
^Cv7  /  /  /  |  /  /  /  /  
        ^Cv7  /  /  /  |  /  /  /  /  
  E^m  .  .  .  |  ^Cv7 .  Bv7 .   (break)
break E^m  .  .  .  |  ^Cv7 .  Bv7 .  
E^m  /  /  /  |  ^Cv7 /  /  /  
        E^m  /  /  /  |  ^Cv7 /  /  /  
E^m  /  /  /  |  /  .  .  E^mvM7,9
        E^m  /  /  /  |  /  .  E^mvM7,9
</tt>
</tt>


Lead into the chords with a fretwise bass melody:  
Lead into the chords with a fretwise bass melody:  
<tt>
<tt>
  ^D vD# ^D# | E...    D vvD Db | ^C...  ^D vD# ^D# | E...  ^D# E ^^E | ^F...
  ^D vD# ^D# | E...    D vvD Db | ^C...  ^D vD# ^D# | E...  ^D# E ^^E | ^F...
  </tt>
</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.


But leading into the E^m just before the break, walk up with the entire chord:
Melody, E' means high E:
<tt>
<tt>
  x x 2 1 1 3
  ^D# | E        .    vG ^G        .    ^D# |
  x x 3 2 2 4
    | E    vG ^G    vC  B      E ^G    vvB |
  x x 4 3 3 5
    | Bb----------------------A ^G  E ^D  E---|
  x x 5 4 4 6
    | .        .        .        .    ^D# |
  </tt>
    | 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>


Melody
Bass line, scale runs E up to Eb, E' means high E, ^F' means high ^F, and ^G' means high ^G.
<tt>
^M7 | P1              vm3 ^m3
^M7 | P1  vm3 ^m3    vm6 P5    P1 vm3
~5  | b5--------------------P4 ^m3 P1 ^m7
  P1 |                   
^M7 | P1              vm3 ^m3
^M7 | P1  vm3 ^m3    vm6 P5    vm3 P5
^M7 | vM7--------------------------
    |                   
^M7 | P1              vm3 ^m3
^M7 | P1  vm3 ^m3    vm6 P5    P1 vm3
~5  | b5---------------------P4 ^m3 P1 ^m7
  P1 |                   
 
    |          P8    ^m7 P5    P4 ^m3
  P1 | ~4 P4    ~4 P4      ~4 P4    ~4 P4   
    | ^m3  P1 ^m7    P1      P1 
    | ^m3  P1 ^m7    P1      P1 
    | ^m3  P1 ^m7    P1      P1 
</tt>


  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 ==
== Barbershop tags ==
Line 1,797: Line 1,912:
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 2,016: Line 2,131:
|hi3add8
|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"
{| class="wikitable"
|+
! rowspan="2" |Lyrics
! 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]]
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
!Bs
!Br
!Br
!Ld
!Ld
!Tn
!Tn
![[KDF Fret Numbering|KDF frets]]
!frets
|-
|-
|When
|Please Don't Give My
|P1
|w1
|P8
|P8
|P8
|w8
|P1
|P5
|P1
|w5
|vM3
|y3
|Da
|↑Da
|↑Da
|↑Da
|Sa
|Da
|Mo
|Da
|Iv
| - - - ,,,1 - -
|Iy
| - - - 13 - -
|hi3add8
|I5no5
|-
|Daddy No More
|P4
|w4
|"
|"
|vM6
|y6
|vm3
|z3
|Fa
|"
|Lo
|No
|IVv7
|IVh7
|close
|close
| colspan="2" rowspan="3" |
|-
|-
|It's
|Wine, No More
|vM7
|P1
|vM7
|w1
|M2
|"
|M2
|"
|To
|P5
|To
|w5
|Ra
|Ra
| - - - ,,3 ,,2 -
| - - - 11 10 -
|VvnoR
|close
|-
|Slee-
|vM6
|vM6
|P1
|vM3
|vM3
|Lo
|y3
|Lo
|Da
|Da
|Mo
| - - ,,,2 ,,,1 ,,,1 -
| - - 14 13 13 -
|vVI^m
|close
|-
| -py
|P5
|"
|"
|"
|"
|Sa
|Sa
|"
|Mo
|"
|Iv
|"
|Iy
|⸰⸰⸰0 - ,,,2 ,,,1 ,,,1 -
|hi3add8
|24 - 14 13 13 -
|vVI^m7
|lo7
|Iv6
|lo56
|-
|-
| rowspan="2" |Time
|Wine
| rowspan="2" |A4
|↓M6
| rowspan="2" |"
|↓w6
| rowspan="2" |"
|vA8
|"
|y8
| rowspan="2" |Pa
|M3
| rowspan="2" |"
|Lw3
| rowspan="2" |"
|v5
|"
|z5
| - ⸰0 ,,,2 ,,,1 ,,,1 -
|↓La
| - 16 14 13 13 -
|↑Fra
|#IVvdv7
|Ma
|close
|So
|vII^9noR
|VIv7
|close
|VIh7
|hi37
|-
|-
|vM2
|He May Be No
|Ro
|M2
| - ⸰0 ,,,2 ⸰0 - 0
|w2
| - 16 14 16 - 0
|v8
|vII^7
|z8
|hiR
|M6
| colspan="2" rowspan="2" |
|w6
|-
|vA4
| rowspan="2" |Down
|y4
| rowspan="2" |P4
|Ra
|"
|↑Do
| rowspan="2" |"
|La
|vm3
|Po
| rowspan="2" |Fa
|IIv7
|"
|IIh7
| 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
|hi3
|-
|-
|South
|Good, But
|P1
|P5
|P5
|"
|w5
|vM3
|M9
|Da
|w9
|vM7
|y7
|v4
|z4
|Sa
|Sa
|↑Ra
|To
|Fo
|Vv7
|Vh7
|close
|-
|He's
|M2
|w2
|v8
|z8
|M6
|w6
|"
|"
|Ra
|↑Do
|La
|"
|IIvm7
|IIz7
|hi3
|-
|All
|P5
|w5
|M9
|w9
|vM7
|y7
|"
|"
|Sa
|↑Ra
|To
|"
|"
|Vv7
|Vh7
|close
|-
|Mine
|P1
|w2
|P5
|w5
| rowspan="6" |P8
| rowspan="6" |w8
|vM3
|y3
|Da
|Sa
| rowspan="6" |Da
|Mo
|Mo
|,,,0 - ,,3 ,,,1 ,,,1 -
|12 - 11 13 13 -
|Iv
|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
|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"
{| class="wikitable"
! rowspan="2" |Lyrics
! rowspan="2" |Lyrics
Line 2,207: Line 2,388:
|Da
|Da
| - - - ,,,1 - -
| - - - ,,,1 - -
| - - - 13 - -
| - - - 13 - -
|I5no5
|I5no5
|close
|close
Line 2,258: Line 2,439:
| rowspan="2" |Time
| rowspan="2" |Time
| rowspan="2" |A4
| rowspan="2" |A4
|"
| rowspan="2" |"
| rowspan="2" |"
| rowspan="2" |"
|"
|"
| rowspan="2" |Pa
| rowspan="2" |Pa
|"
| rowspan="2" |"
| rowspan="2" |"
| rowspan="2" |"
|"
|"
Line 2,272: Line 2,453:
|close
|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
|hiR
| colspan="2" rowspan="2" |
| colspan="2" rowspan="2" |
Line 2,284: Line 2,463:
| rowspan="2" |Down
| rowspan="2" |Down
| rowspan="2" |P4
| rowspan="2" |P4
|vM6
|"
| rowspan="2" |"
| rowspan="2" |"
|vm3
|vm3
Line 2,322: 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 in theory actually smoother!


=== Way Down South ===
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]].
Source: https://www.barbershoptags.com/tag-10-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.
 
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"
{| class="wikitable"
|+
! rowspan="2" |Lyrics
! rowspan="2" |Lyrics
! colspan="4" |vocal parts
! colspan="4" |vocal parts
! colspan="4" |[[41edo solfege|solfege]]
! colspan="4" |[[41edo solfege|solfege]]
! colspan="2" |7-string guitar tab
! colspan="2" |6- string guitar tab
! colspan="2" rowspan="2" |chords and
! colspan="2" rowspan="2" |chords and


Line 2,350: Line 2,532:
!frets
!frets
|-
|-
|Way
|When
|P4
|P8
|P8
|P8
|vm3
|P1
|vM6
|P1
|Fa
|↑Da
|↑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" |
|-
|-
|Down
|It's
|A4
|vM7
|M7
|vM7
|vA2
|M2
|vM6
|M2
|Pa
|To
|Ta
|To
|Na
|Ra
|Ra
| - - - ,,3 ,,2 -
| - - - 11 10 -
|VvnoR
|close
|-
|Slee-
|vM6
|vM6
|P1
|vM3
|Lo
|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" |
| colspan="2" rowspan="2" |
|-
|-
| rowspan="2" |Down
| rowspan="2" |P4
|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
|P5
|vM10
|"
|P5
|vM3
|Da
|Sa
|Sa
|↑Mo
|"
|Sa
|Mo
| - - 2 - ,0 3 ,1
|,,,0 - ,,3 ,,,1 ,,,1 -
| - - 2 - 4 3 5
|12 - 11 13 13 -
|Iv
|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
|P4
|vM9
|P8
|vm3
|vM6
|vM6
|Fa
|Fa
|↑Ro
|↑Da
|No
|Lo
|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
|-
|-
|vM3
|Down
|P8
|A4
| rowspan="2" |P5
|M7
|Mo
|vA2
|↑Da
|vM6
| rowspan="2" |Sa
|Pa
| - 3 - ,0 - 3 ,1
|Ta
|  - 3 - 4 - 3 5
|Na
|Iv
|Lo
|lo3add8
| - ,3 ,,1 ,,1 - ,2 -
| colspan="2" |
|  - 7 9 9 - 6 -
|VIIv7
|lo5
|-
|-
|^m3
| rowspan="11" |South
|^m7
 
|Nu
 
|Thu
 
| - 2 - 1 - 3 ,1
 
| - 2 - 1 - 3 5
 
|^bIIIv6
 
|hi36
 
|(I^m7)
 
|(hiRlo37)
 
 
 
 
|P8
| rowspan="2" |vM10
| 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
|-
|-
|^M2
|vm7
|^M6
|Tho
|A4
| - - - 0 ,0 3 ,1
|Ru
| - - - 0 4 3 5
|Lu
|Iv7
|Pa
|hiRlo7
|,3 - ,2 - ,,0 - ,1
|7 - 6 - 8 - 5
|^IIv7
|hi37
| colspan="2" rowspan="3" |
|-
|-
|^m2
|vM6
|^m6
|vM9
|P4
|P4
|Fru
|Lo
|Flu
|↑Ro
|Fa
|Fa
|,1 - ,0 - ,2 - ,1
| - - ,1 ,3 ,2 - ,1
|5 - 4 - 6 - 5
| - - 5 7 6 - 5
|^bIIvM7
|vII^m7
|hi37
|lo5
|IVv6
|lo36
|-
|-
|P1
|^m6
|P5
|^m10
|vM3
|d5
|Da
|Flu
|Sa
|↑Nu
|Mo
|Sha
|3 - 2 - ,0 - ,1
| - - ,0 - 3 1 ,1
|3 - 2 - 4 - 5
|  - - 4 - 3 1 5
|^bVIv7
|hi3
| colspan="2" rowspan="2" |
|-
|P5
|vM10
|P5
|Sa
|↑Mo
|Sa
| - - 2 - ,0 3 ,1
| - - 2 - 4 3 5
|Iv
|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
|P8
| rowspan="5" |vM3
| rowspan="2" |P5
 
|Mo
 
 
 
 
^m3
| rowspan="5" |P5
 
 
 
 
 
^m6
| rowspan="8" |P8
|↑Da
|↑Da
| rowspan="5" |Mo
| rowspan="2" |Sa
 
| - 3 - ,0 - 3 ,1
 
| - 3 - 4 - 3 5
 
 
 
Nu
| rowspan="5" |Sa
 
 
 
 
 
Flu
| rowspan="8" |↑Da
| - - ,,1 ,,1 ,,0 ,,2 - -
| - - 9 9 8 10 - -
|Iv
|Iv
|add8
|lo3add8
| colspan="2" |
|-
|-
|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
|^m6
|P4
|Fru
|Flu
|Flu
| - ,,1 - ,,0 ,,2 ,,2 - -
| - 9 - 8 10 10 - -
|^bVIv
|hi3add8
|-
|Darn
|P4
|vM2
|vm6
|Fa
|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
|↑Ro
|"
| - - - ,,3 ,,1 ,,2 - 0
| - - - 11 9 10 - 0
|"
|close
|"
|hi3
|-
|Smile
|P8
|vM10
|P5
|↑Da
|↑Mo
|Sa
|Sa
| - - ,,1 - ,,0 ,,2 ,,2 -
|Mo
| - - 9 - 8 10 10 -
|3 - 2 - ,0 - ,1
|3 - 2 - 4 - 5
|Iv
|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"
{| class="wikitable"
|+
|+
Line 2,710: Line 2,890:
| ----
| ----
| ----
| ----
| - ,2 - - - - - -
| - ,3 - - - - - -
| - 6 - - - - - -
| - 7 - - - - - -
| ------
| ------
| ------
| ------
Line 2,749: Line 2,929:
Flu
Flu
| rowspan="8" |↑Da
| rowspan="8" |↑Da
| - - ,,0 ,,0 ,3 ,,1 - -
| - - ,,1 ,,1 ,,0 ,,2 - -
| - - 8 8 7 9 - -
| - - 9 9 8 10 - -
|Iv
|Iv
|add8
|add8
Line 2,757: Line 2,937:
|vM7
|vM7
|To
|To
| - - ,2 ,,0 ,3 ,,1 - -
| - - ,3 ,,1 ,,0 ,,2 - -
| - - 6 8 7 9 - -
| - - 7 9 8 10 - -
|IvM7
|IvM7
|hiRlo7
|hiRlo7
Line 2,765: Line 2,945:
|vM6
|vM6
|Lo
|Lo
| - ,,1 - ,,0 ,3 ,,1 - -
| - ,,2 - ,,1 ,,0 ,,2 - -
| - 9 - 8 7 9 - -
| - 10 - 9 8 10 - -
|Iv6
|Iv6
|hiRlo6
|hiRlo6
Line 2,775: Line 2,955:
|P5
|P5
|Sa
|Sa
| - ,2 - ,,0 ,3 ,,1 - -
| - ,3 - ,,1 ,,0 ,,2 - -
| - 6 - 8 7 9 - -
| - 7 - 9 8 10 - -
|Iv
|Iv
|hiRaddlo5
|hiRaddlo5
Line 2,784: Line 2,964:
|^m6
|^m6
|Flu
|Flu
| - ,,0 - ,3 ,,1 ,,1 - -
| - ,,1 - ,,0 ,,2 ,,2 - -
| - 8 - 7 9 9 - -
| - 9 - 8 10 10 - -
|^bVIv
|^bVIv
|hi3add8
|hi3add8
Line 2,791: Line 2,971:
|Darn
|Darn
|P4
|P4
|'''^M2'''
|vM2
|'''^m6'''
|vm6
|Fa
|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
|hi35
|'''bVII^9noR'''
|bVIIv9noR
|lo5
|lo5
|-
|-
|Ya  
|Ya  
|P11
|P11
|'''^M9'''
|vM9
|'''"'''
|"
|↑Fa
|↑Fa
|'''↑Ru'''
|↑Ro
|'''"'''
|"
| - - - ,,2 ,,1 ,,1 - 0
| - - - ,,3 ,,1 ,,2 - 0
| - - - 10 9 9 - 0
| - - - 11 9 10 - 0
|'''"'''
|"
|close
|close
|'''"'''
|"
|hi3
|hi3
|-
|-
Line 2,824: Line 3,004:
|↑Mo
|↑Mo
|Sa
|Sa
| - - ,,0 - ,3 ,,1 ,,1 -
| - - ,,1 - ,,0 ,,2 ,,2 -
| - - 8 - 7 9 9 -
| - - 9 - 8 10 10 -
|Iv
|Iv
|hi3add8
|hi3add8
| colspan="2" |
| 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"
{| class="wikitable"
|+
|+
Line 2,841: Line 3,018:
! colspan="4" |vocal parts
! colspan="4" |vocal parts
! colspan="4" |[[41edo solfege|solfege]]
! 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
! colspan="2" rowspan="2" |chords and


their [[Hi-lo notation|voicings]]
their [[Hi-lo notation|voicings]]
! colspan="2" rowspan="2" |chord homonyms
! colspan="2" rowspan="2" |chord
homonyms
|-
|-
!Bass
!Bass
Line 2,857: Line 3,034:
!Tn
!Tn
![[KDF Fret Numbering|KDF frets]]
![[KDF Fret Numbering|KDF frets]]
!frets
!frets
!frets
|-
|-
|Whisper
|A
|P5
|P5
|P8
| -------
|vM3
| ------
|vm7
| ------
|Sa
|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
|"
|P8
|m9
| rowspan="5" |vM3
|v4
 
|"
 
|"
 
|↑Fra
 
|Fo
 
|"
^m3
|⸰2 - ,,,3 ,,,3 ⸰1 -
| rowspan="5" |P5
|18 - 15 15 17 -
 
| - - 5 - 2 2 4
 
|Vvdv7
 
|hi3
 
|vbVII^m6
 
|hiRlo6
^m6
|-
| rowspan="8" |P8
|Of
|"
|P8
|vM3
|vM6
|"
|↑Da
|↑Da
|Mo
| rowspan="5" |Mo
|Lo
 
|⸰2 ⸰⸰0 ⸰⸰0 ⸰⸰2 - -
 
|18 20 20 22 - -
 
| - - 5 7 7 9 -
 
|Iv6
 
|lo5
Nu
| colspan="2" |
| rowspan="5" |Sa
 
 
 
 
 
Flu
| rowspan="8" |↑Da
| - - ,,0 ,,0 ,3 ,,1 - -
| - - 8 8 7 9 - -
|Iv
|add8
|-
|-
|Wis-
|Is
|"
|vM7
|vM7
|"
|P5
|"
|To
|To
|"
| - - ,2 ,,0 ,3 ,,1 - -
|Sa
| - - 6 8 7 9 - -
|⸰2 ⸰2 ⸰⸰0 ⸰3 - -
|IvM7
|18 18 20 19 - -
|hiRlo7
| - - 5 5 7 6 -
|vIII^m
|hiRadd10
|Vv6no5
|add8
|-
|-
|dom
|Still
|"
|vM6
|"
|Lo
|M2
| - ,,1 - ,,0 ,3 ,,1 - -
|v4
| - 9 - 8 7 9 - -
|"
|Iv6
|"
|hiRlo6
|Ra
|vVI^m7
|Fo
|hi3
|⸰2 ⸰2 ⸰1 ,,,3 - -
|18 18 17 15 - -
| - - 5 5 4 2 -
|Vv7
|close
| colspan="2" |
|-
|-
|Let
|Worth-
|"
|vm7
|vM3
|P5
|P5
|"
|Tho
|Mo
|Sa
|Sa
| - - ,1 3 ,3 ,2
| - ,2 - ,,0 ,3 ,,1 - -
| - - 5 3 7 6
| - 6 - 8 7 9 - -
| - - 5 3 7 6 -
|Iv
|Vvm6no5
|hiRaddlo5
|add8
| colspan="2" rowspan="2" |
|Iv7noR
|lo7addlo5
|-
|-
|It
|while
|"
|^m6
|"
|Flu
|M2
| - ,,0 - ,3 ,,1 ,,1 - -
|v4
| - 8 - 7 9 9 - -
|"
|^bVIv
|"
|hi3add8
|Ra
|-
|Fo
|Darn
| - - ,1 3 ,0 2
|P4
| - - 5 3 4 2
|'''^M2'''
| - - 5 3 4 2 -
|'''^m6'''
|Vvm7
|Fa
|close
|'''Ru'''
| colspan="2" rowspan="2" |
|'''Flu'''
|-
|,,1 - ,,,0 - ,,1 ,,1 - -
| rowspan="3" |Be
|9 - 12 - 9 9 - -
|P4
|'''IV^m6'''
|vM6
|hi35
| rowspan="3" |P1
|'''bVII^9noR'''
| rowspan="2" |vm3
|lo5
|Fa
|-
|Lo
|Ya
| rowspan="3" |Da
|P11
| rowspan="2" |No
|'''^M9'''
| - ,,0 ,,0 ,3 ,1 -
|'''"'''
| - 8 8 7 5 -
|↑Fa
| - 8 8 7 5 - -
|'''↑Ru'''
|IVv7
|'''"'''
|close
| - - - ,,2 ,,1 ,,1 - 0
|-
| - - - 10 9 9 - 0
|vm3
|'''"'''
|vm6
|close
|No
|'''"'''
|Flo
|hi3
| - ,0 ,2 ,3 ,1 -
|-
| - 4 6 7 5 -
|Smile
| - 4 6 7 5 - -
|P8
|vbVI^  
|vM10
|addlo5
|P5
|IVvm7noR
|↑Da
|addlo7
|↑Mo
|Sa
| - - ,,0 - ,3 ,,1 ,,1 -
| - - 8 - 7 9 9 -
|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?
 
=== 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
|-
|Whisper
|P5
|P8
|vM3
|vm7
|Sa
|↑Da
|Mo
|Tho
|⸰2 ⸰⸰0 ⸰⸰0 - ⸰1 -
|18 20 20 - 17 -
| - - 5 7 7 - 4
|Iv7
|lo5
| colspan="2" |
|-
|Words
|"
|m9
|v4
|"
|"
|↑Fra
|Fo
|"
|⸰2 - ,,,3 ,,,3 ⸰1 -
|18 - 15 15 17 -
| - - 5 - 2 2 4
|Vvdv7
|hi3
|vbVII^m6
|hiRlo6
|-
|Of
|"
|P8
|vM3
|vM6
|"
|↑Da
|Mo
|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
|P1
|P5
|P5
Line 3,008: Line 4,144:
|Sa
|Sa
|Mo
|Mo
|,2 - ,1 ,3 ,3 -
|6 - 5 7 7 -
|6 - 5 7 7 - -
|Iv
|Iv
|hi3add8
|hi3add8
| colspan="2" |
|Iy
| colspan="3" |
|}
|}
[[File:Whisper Words of Wisdom 41edo small.png|frameless|779x779px]]
== World Music, Microtonal Music, etc. ==
== World Music, Microtonal Music, etc. ==


Line 3,254: 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 3,262: 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
Retrieved from "https://en.xen.wiki/w/Kite_Guitar_translations_by_Kite_Giedraitis"