@@ Line 1: / Line 1: @@
-[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds. Triadic songs use mostly triads and end on a triad, tetradic songs use mostly tetrads and end on a tetrad. The distinction is somewhat arbitrary, especially since sometimes in the course of translation triads become tetrads. The triadic songs tend to be [[5-limit]], and the tetradic ones tend to be [[7-limit]] or higher.
+[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. Translations by others are [[Kite Guitar Translations|here]]. The original 12-edo chords are simply the 41-edo chords with the ups and downs omitted. All tabs are for a guitar tuned in downmajor 3rds, unless otherwise noted. Triadic songs use mostly triads and end on a triad, tetradic songs use mostly tetrads and end on a tetrad. The distinction is somewhat arbitrary, especially since sometimes in the course of translation triads become tetrads. The triadic songs tend to be [[5-limit]], and the tetradic ones tend to be [[7-limit]] or higher.
+== Microtonal Pop Songs ==
+=== CBAT (Hudson Mohawke) ===
+Original 2011 track: [https://www.youtube.com/watch?v=KAwyWkksXuo youtube.com/watch?v=KAwyWkksXuo]
+Why it has 7.5 million views: [https://www.insider.com/cbat-reddit-sex-song-hudson-mohawke-viral-meme-2022-9 insider.com/cbat-reddit-sex-song-hudson-mohawke-viral-meme-2022-9]
+This melodyne pitch graph [https://youtu.be/Xl4HDoKMmvQ?t=165 youtu.be/Xl4HDoKMmvQ?t=165] at 2:45 from an Adam Neely video suggests these pitches:
+vB ^C vBb / vB vA vA vA ^G / Ab ^A vG / Ab Gb Gb Gb vF
+But I looped each note individually in Reaper (0:48-1:12 is easiest to hear), and it sounds more like this to me:
+vB ^C vBb / vB '''vvA vvA vvA''' ^G / Ab ^A vG / Ab '''^^F ^^F ^^F ^E'''
+This 2nd version's scale has a pleasing symmetry: each half of the melody spans a 4th, which is divided into 4 nearly equal steps (3 upminor 2nds and 1 mid 2nd).
+Tab for a mid-6 guitar, 2nd version (bold notes are on 1st string, all others are on 2nd string):
+_ '''20''' 22 _ _  24 _ 20 20 20 _ 18 _ _ _ 19 _ '''15''' 17 _ _ 19 _ 15 15 15 _ 13 _ _ _
+In [[KDF Fret Numbering|KDF format]]:
+⸰⸰⸰0 _ '''⸰⸰0''' ⸰⸰2 _ _ ⸰⸰⸰0 _  ⸰⸰0 ⸰⸰0 ⸰⸰0 _ ⸰2 _ _ _ ⸰3 _ '''ₒₒₒ3''' ⸰1 _ _ ⸰3 _ ₒₒₒ3 ₒₒₒ3 ₒₒₒ3 _ ₒₒₒ1 _ _ _
+=== These Boots Are Made For Walkin' (Lee Hazlewood) ===
+The only #1 single with a microtonal bass line! (so far, anyway)
+https://www.youtube.com/watch?v=TDmidrIDB4o
+<tt>
+  bass run ----------------------->
+  Iv       /       /       /       /        /       /       /
+  Iv       /       /       /       /        /       /       /
+  IVv      /       /       /       Iv       /       /       /
+ ^bIIIv    I^m    ^bIIIv   I^m    ^bIIIv    I^m     N.C.
+</tt>
+The original key is E. But for a solo 6-string arrangement, the bass run needs to sound bassy, which means the tonic needs to be low on the 6th string. Ab is a good key.
+<tt>
+  Iv      Abv    4 . 3 5 5 .
+  IVv     Dbv    . 6 6 5 7 .
+ ^bIIIv  ^Cbv    . 3 3 2 4 .
+  I^m     Ab^m   4 . 3 5 4 .
+</tt>
+The Iv chord is played as a v chord with a quick passing vm chord. In Ab, the frets are 4x355x and 4x353x. The fingerings are 2x134x and 2x131x. The original has a strumming pattern of down down-up-down down-up with the vm chord only on the 2nd & 4th downs, but many other rhythms are possible.
+While the verse has a passing Ivm, the chorus has I^m. It's rare to translate a single chord to both downminor and upminor. But I^m in the verse would be much harder to play as a passing chord. And Ivm in the chorus would imply a harsh vbIII^. Some versions of this song have a major I chord during the chorus, which avoids the issue. BTW, some versions have the I and IV chords in later verses become dom7 chords. These can be translated to v7 chords.
+In the original, the bass run walks by quartertones of 50¢ from the 8ve down to the half-flat 4th, then jumps down to the tonic. The Kite guitar has steps of either ~60¢ or ~30¢, so it can't duplicate that exactly. This is a blessing in disguise, because there are many ways to approximate the original, and we can be creative in our choices.
+This way uses mostly steps of 60¢, but a 30¢ step when moving to the next string. The run ends on a vM3. This is absolute tab, so (3,5) means 3rd string, 5th fret.
+<tt>
+ (3,5) (3,4) (3,3) (3,2) | (3,1) (3,0) (4,6) (4,5) | (4,4) (4,3) (4,2) (4,1) | (4,0) (5,6) (5,5) (5,4)
+</tt>
+The melody can be varied by moving to the next string earlier, so that the 30¢ step happens sooner. For example, the 6th note could be (4,7).
+This way uses steps of 60¢ and 90¢ and ends on the vm3. This is further from the original but sounds better melodically to me. The 30¢ step sounds annoyingly small. Again, one can vary the melody by moving to the next string earlier.
+<tt>
+ (3,5) (3,4) (3,3) (3,2) | (3,1) (3,0) (4,5) (4,4) | (4,3) (4,2) (4,1) (4,0) | (5,5) (5,4) (5,3) (5,2)
+</tt>
+Yet another way uses only the 5th string. It starts on the 18th fret and walks down to the 3rd fret, the ^m3. It uses only 60¢ steps, very nice melodically. But it has the ^5 and v5 and no P5. In a solo arrangement, that's no problem, but in a band setting it might clash too much with the Iv chord.
+All of these ways can be varied by lowering the last few notes so that the final leap down to the tonic is smaller. For example, the last 4 notes of the last example could be (5,6) (5,4) (5,2) (5,0).
+Every one of these possibilities works well, and since the bass run happens 4-5 times in the song, there's no reason to play it the same way twice!
+Finally, here's an advanced version combining the bass run with the Iv chord.
+<tt>
+ | - - 4 4 - - 4 4 | - - 4 4 - - 4 4 | - - 4 4 - - 4 4 | - - 4 4 - - 4 4 |
+ | - - 5 5 - - 5 5 | - - 5 5 - - 5 5 | - - 5 5 - - 5 5 | - - 5 5 - - 5 5 |
+ | 5 - 4 - 3 - 2 - | 1 - 0 - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - 5 - 4 - | 3 - 2 - 1 - 0 - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | 5 - 4 - 3 - 2 - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+</tt>
+=== Sleep Drifter (King Gizzard and the Lizzard Wizard) ===
+The original is in 24-edo, which 41-edo can approximate fairly well. The scale I chose is the equi-minor scale, P1 ~2 ^m3 P4 P5 ~6 ^m7 P8 or F# ^^G ^A B C# ^^D ^E F#. I could have approximated 24edo even better by using the plain minor 3rd and 7th. But the upminor sounds better to my ear, and is less awkward to play.
+There's only two chords, I^m and ^bVII^m (F#^m and ^E^m). As usual with minor scales, the 4th is fuzzy. During the ^E^m chord, the B note changes to ^B. One could consider these two chords to be F#5 and ^E5 dyads, or F#^m7 and ^E^m7 tetrads. It depends on what you call melody and what you call harmony.
+There is a frequent melodic ornament that uses a hammer-on and a pull-off to rapidly move from ^^G up to G# and back, or from ^^D to D# and back. The opening riff runs down the scale from C# to F# a 12th below, using this ornament several times on the low ^^G note.
+"Drifting in and out of sleep..."
+<tt>
+ F# ^E F# F# ^^D ^^D C#
+ F# ^E F# ^A ^^D ^^D C#
+ F# ^E F# F# ^^D ^^D C#
+ F# ^E F# ^A ^^D* C# ^B   *ornamented
+</tt>
+"Sleep drifter sleep drifter"
+<tt>
+ ^^D ^E F# ^^G ^A B C#
+</tt>
+"I can feel you touch me..."
+<tt>
+ F# ^^G ^A ^A ^^G F#
+ C# F# ^^G ^A C# ^^G F#
+ F# ^^G ^A ^A ^^G F#
+ F# ^^G ^A B ^^G F#
+</tt>
+=== Good In Bed (Dua Lipa) ===
+The chords are G^m - Cv - Fv - Dv,7. I used a plain 7th not a down 7th in the D chord to avoid frequent pitch shifts, because the vocal melody uses C a lot. In fact C could be considered the tonic, making the chords V^m - Iv - IVv - IIv,7.
+Except for the chorus, the melody uses the C downmajor scale C D vE F G vA vB C. But instead of the 2nd, it's the 6th that's fuzzy, with the vA changing to A over the G^m and Dv,7 chords.
+How to tune the "bad"s in the microtonal chorus? The interval between the 1st and last "bad" is about a major 2nd or minor 3rd. The singing isn't perfectly consistent, so it doesn't matter a whole lot melodically which exact note we start from. More important is that the 1st "bad" relates to the underlying chord, to make it easy to sing. My approach was just to find something on the Kite guitar that was playable and harmonized well.
+D is the 5th of the G^m chord, but that seemed too low. ^D and Eb clashed too much with the G^m chord, and ^Eb felt too high. So that left vEb. Over the Fv chord, it makes a beautiful v7 chord. Over the G^m chord, it makes a vm6 from the root and an ^M3 from the 3rd, harsh but possible.
+But the downminor 3rd is 9 edosteps of 41, and an equal melody is impossible. There has to be one step that's larger. I chose to make the last step the largest, making vEb D vvD Db C. But the 2nd or 3rd step could be the large one. Not the 1st step, because vD makes a very wolfy off-5th with the G^m chord. So the second note should definitely be plain D. This note does make a somewhat wolfy plain M6 over the F chord, but that's the lesser of two evils. Another possibility: one could walk down differently over each chord. Over the G chord, vEb D vvD Db C, and over the F chord, vEb vD ^Db vDb C . But this makes the melody considerably more complicated.
+Chorus ("I know it's really bad, bad, bad, bad, bad")
+<tt>
+ C C C C C vEb D vvD Db C (3x)
+ A G F vE vA vE D
+</tt>
+=== Scar Tissue (Red Hot Chili Peppers, intro only) ===
+This one barely qualifies as microtonal. As explained in this Paul Davids video [https://www.youtube.com/watch?v=Daw93bRHe4Y youtube.com/watch?v=Daw93bRHe4Y], the guitarist detuned his B string by about 15¢ to get a just 5/2 ratio, making this a natural for the Kite guitar!
+Source for the tab: [https://www.youtube.com/watch?v=oqB5MgmDwm4 youtube.com/watch?v=oqB5MgmDwm4] The last few notes use vG not G so that one can use pulloffs.
+<tt>
+ | -  -  -  -  14 -  - 14 | -  14 -  -  14 -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  12 - | 12 14 -  -  14 -  -  14| -  14 -  -  14 12 -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 13 -  -  -  -  -  13 - | 13 -  13 -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  11 - | 11 14 -  -  14 -  14 - | 14 -  14 -  -  -  11 - |
+ | -  -  -  -  14 -  - 14 | -  14 -  14 -  11 -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | 12 14 -  -  -  -  -  - | -  -  17 14 17 14 -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 13 -  -  -  -  -  13 - | 13 -  13 -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | 11 14 -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+</tt>
 == Triadic Songs ==
+=== 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.
+-string version in A downmajor:
+<tt>
+  4   2314        4  3   2(2)134     4  1   1342        4      231         1  4
+ -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - |
+ -  - | -  -  -  -  7  - | 7  -  -  -  7  4 | -  -  -  -  -  - | -  -  -  -  -  - |
+ -  7 | 7  -  -  -  -  7 | 7  -  -  -  -  - | 7  -  -  -  -  - | -  -  -  -  -  7 |
+  - | 5  -  -  -  -  - | 5  -  -  -  -  - | 8  -  -  -  8  - | 5  -  -  -  5  - |
+ -  - | 6  -  -  -  -  - | -  -  -  -  -  - | 8  -  -  -  -  - | 6  -  -  -  -  - |
+ -  - | 6  -  -  -  -  - | 6  -  -  -  -  - | 6  -  -  -  -  - | 6  -  -  -  -  - |
+        4  3   2(2)134     1  4   2314               2           4  2
+      | -  -  -  -  -  - | -  -  -  -  -  6 | 6  -  -  -  -  - | -  -  -  -  -  6 |
+      | -  -  -  -  7  - | 7  -  -  -  4  - | 4  -  -  -  -  - | -  -  -  -  7  - |
+      | 7  -  -  -  -  7 | 7  -  -  -  -  - | 5  -  -  -  -  - | -  -  -  -  -  - |
+      | 5  -  -  -  -  - | 5  -  -  -  -  - | 5  -  -  -  -  - | 5  -  -  -  -  - |
+      | 6  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - |
+      | 6  -  -  -  -  - | 6  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - |
+        4  3   2(2)134            1342        4      231         1  4
+      | 6  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - |
+      | 7  -  -  -  7  - | 7  -  -  -  7  4 | -  -  -  -  -  - | -  -  -  -  -  - |
+      | 7  -  -  -  -  7 | 7  -  -  -  -  - | 7  -  -  -  -  - | -  -  -  -  -  7 |
+      | 5  -  -  -  -  - | 5  -  -  -  -  - | 8  -  -  -  8  - | 5  -  -  -  5  - |
+      | -  -  -  -  -  - | -  -  -  -  -  - | 8  -  -  -  -  - | 6  -  -  -  -  - |
+      | -  -  -  -  -  - | 6  -  -  -  -  - | 6  -  -  -  -  - | 6  -  -  -  -  - |
+        4  3   2(2)134     1      1342               2314
+      | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - |
+      | -  -  -  -  7  - | 7  -  -  -  4  - | -  -  -  -  -  - | -  -  -  -  -  - |
+      | 7  -  -  -  -  7 | 7  -  -  -  -  - | 7  -  -  -  -  - | 7  -  -  -  -  - |
+      | 5  -  -  -  -  - | 5  -  -  -  -  - | 8  -  -  -  -  - | 5  -  -  -  -  - |
+      | 6  -  -  -  -  - | -  -  -  -  -  - | 8  -  -  -  -  - | 6  -  -  -  -  - |
+      | 6  -  -  -  -  - | 6  -  -  -  -  - | 6  -  -  -  -  - | 6  -  -  -  -  - |
+</tt>
+=== Wade In The Water (trad. spiritual) ===
+Another easy arrangement meant as an introduction to the Kite guitar. For 6-string guitar. Bars 9-10 and 13-14 can be improvised. The unusual fingering in bars 11-12 is meant to facilitate smooth sliding of the upper 2 voices.
+<tt>
+  Wade        in the wa-     ter      Wade       in the water chi-ildren
+  fingering x21143 ----------------\
+ | - - 4 - 4 - - - | - - 4 - - - 4 - | - - 4 - 4 - - - | - - - - - - - - |
+ | - - 5 - 5 - - - | - - 5 - - - 5 - | - - 5 - 5 - 2 - | 5 - 2 - - - - - |
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | 3 - - - - - - 3 | - - - 3 - - - - |
+ | - - - - - - 3 - | 3 - - - - - - - | - - 6 - 6 - - - | - - - - - 6 3 - |
+ | 4 - - - - - - 4 | - - - - 4 - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+  Wade        in the wa-    ter      God's gonna trouble the wa-ater
+ | - - 4 - 4 - - - | - - 4 - - - 4 - | - - - - - - - - | - - - - - - 4 - |
+ | - - 5 - 5 - - - | - - 5 - - - 5 - | - - - - - - - - | - - - - - - 5 - |
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
+ | - - - - - - 3 - | 3 - - - - - - - | 3 - - - - - - - | - - - - - - - - |
+ | 4 - - - - - - 4 | - - - - 4 - - - | - - 4 4 4 4 - - | 1 - 3 4 - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - 2 | - - - - - - - - |
+ See that band all dressed in re-e-ed  God's gonna trouble the wa-ater  It
+                                      fingering xxx132 ----------\
+ | - - - - - - - - | - - - - - - - - | 4 - 4 4 4 4 - - | 2 - 3 4 - - - - |
+ | - - - - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+ | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - 3 |
+ | 3 - - 3 - - - - | 3 6 - 3 - 6 3 - | - - - - - - - - | - - - - - - - - |
+ | - 4 - - - 4 - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ look like a band that Mo-oses le-ed   God's gonna trouble the wa-ater
+ | - - - - - - - - | - - - - - - - - | 4 - 4 4 4 4 - - | 2 - 3 4 - - - - |
+ | 5 5 2 - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+ | - - - - 3 - - - | - 3 - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - - |
+ | - - - - - - - 3 | 6 - 6 3 - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+</tt>
+downminor version:
+<tt>
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | - - 3 - 3 - - - | - - - - - - - - |
+ | - - 5 - 5 - - - | - - 5 - - - 5 - | - - 5 - 5 - 1 - | 5 - 1 - - - - - |
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | 3 - - - - - - 3 | - - - 3 - - - - |
+ | - - - - - - 2 - | 2 - - - - - - - | - - 6 - 6 - - - | - - - - - 6 2 - |
+ | 4 - - - - - - 4 | - - - - 4 - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
+ | - - 5 - 5 - - - | - - 5 - - - 5 - | - - - - - - - - | - - - - - - 5 - |
+ | - - 3 - 3 - - - | - - 3 - - - 3 - | - - - - - - - - | - - - - - - 3 - |
+ | - - - - - - 2 - | 2 - - - - - - - | 2 - - - - - - - | - - - - - - - - |
+ | 4 - - - - - - 4 | - - - - 4 - - - | - - 4 4 4 4 - - | 0 - 3 4 - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - 2 | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - - | 2 - 2 3 - - - - |
+ | - - - - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+ | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - 3 |
+ | 2 - - 2 - - - - | 2 6 - 2 - 6 2 - | - - - - - - - - | - - - - - - - - |
+ | - 4 - - - 4 - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | 3 - 3 3 3 3 - - | 2 - 2 3 - - - - |
+ | 5 5 1 - - - - - | - - - - - - - - | 5 - 5 5 5 5 - - | 3 - 4 5 - - - - |
+ | - - - - 3 - - - | - 3 - - - - - - | 3 - 3 3 3 3 - 3 | 3 - 3 3 - - - - |
+ | - - - - - - - 2 | 6 - 6 2 - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+</tt>
 === Simple Twist Of Fate (Bob Dylan) ===
 This song uses lots of inversions to create its distinctive bass line. The original Blood On The Tracks version uses an open D tuning, capo'ed up to E. The translation is mostly 5-limit. The only 7-limit chord is Av7, which could become a 5-limit chord, Av,7.
 <tt>
   Dv       /       /       /       Dv/vC#   /       /       /
@@ Line 16: / Line 281: @@
 </tt>
-Relative notation. Slash chords in roman numeral notation are explained in the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation Guide for Edos], near the end of section 3.
+Relative notation. The number after the slash indicates the interval from the root of the chord, not from the tonic of the scale. The reason for this is explained in the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation Guide for Edos], near the end of section 3.
 <tt>
   Iv       /       /       /       Iv/vM7   /       /       /
@@ Line 27: / Line 292: @@
 </tt>
-Tab in ^C downmajor for a 6-string guitar. Detune the top string by a half-fret, to make a unison with the 2nd string 6th fret, and an 8ve with the 5th string 5th fret. Capo up 6 or 7 frets to get close to the original key of E.
+Tab in ^C downmajor for a 6-string guitar. '''<u>Detune the top string by a half-fret</u>''', to make a unison with the 2nd string 6th fret, and an 8ve with the 5th string 5th fret. Capo up 6 or 7 frets to get close to the original key of E.
-The Blood On The Tracks version has the Gm chord voiced R-3-5. But I like it voiced with the 3rd in the bass. I like the tension created by the bass line slowly approaching A, then suddenly jumping back up to D. For his voicing, just omit the bass and play . . 7 6 . 0
 <tt>
   Iv       . 5 5 4 . 0
@@ Line 39: / Line 302: @@
   IVv/3    6 . 7 7 . 0
-  IV^m/3   5 . 7 6 . 0  (see above)
+  IV^m/3   5 . 7 6 . 0  (see note below)
-  Iv       . 5 5 4 . 0  (as before)
+  Iv       . 5 5 4 . 0
   V4/v3    . 3 2 4 . 0
-  IVv/3    6 . 7 7 . 0  (as before)
+  IVv/3    6 . 7 7 . 0
   Iv/5     3 . 5 4 . 0
   Vv7      3 . 2 0 4 .
-  Iv       . 5 5 4 . 0  (as before)
+  Iv       . 5 5 4 . 0
 </tt>
+Instead of detuning, one could capo on the a-fret and move everything up one fret. But then one can't change the key to D or E by capoing.
+The Blood On The Tracks version has the IVm chord voiced R-3-5. But I like it voiced with the 3rd in the bass. I like the tension created by the bass line slowly approaching the 5th, then suddenly jumping back up to the 8ve. For Dylan's voicing, just omit the bass and play . . 7 6 . 0
 === Fast Car (Tracy Chapman) ===
-For 6 strings. Key is ^^F. Capo on the 6th fret for the key A. Main riff:
+For 6 strings. Key is ^^F downmajor, the open 6th string. Capo on the 6th fret for the original key of A. Main riff:
 <tt>
      -   -   -   0  | -   0   -   -  | -   -   -   -  | -   -   -   -
@@ Line 63: / Line 328: @@
 </tt>
-This lacks the droning open string sound of the original. The solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. <b>Bolded</b> notes are capo'ed:
+This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret.
+<tt>
+    -   -   -   0  | -   0   -   -  | -   -   -   -  | -   -   -   -
+   2   0   -  | -   -   -   -  | 14 (17) 14  12 | -   12  -   -  (tune this string up 1 fret)
+   -   0   0  | -   -   0   -  | 0   -   -   0  | -   -   0   -  (tune this string up 1 fret)
+    -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
+  -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
+    -   -   -   0  | -   -   -   -  | 15  -   -   12 | -   -   -   -
+</tt>
+The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. <b>Bolded</b> notes are capo'ed open strings:
 <tt>
      -   -   -   0  | -   0   -   -  | -   -   -   -  | -   -   -   -
-     <b>1</b>   3   <b>1</b>   -  | -   -   -   -  | 15 (18) 15  13 | -  13   -   -
+     <b>1</b>   3   <b>1</b>   -  | -   -   -   -  | 15 (18) 15  13 | -  13   -   -  (capo this string up 1 fret)
-     <b>1</b>   -   <b>1</b>   <b>1</b>  | -   -   <b>1</b>   -  | <b>1</b>   -   -   <b>1</b>  | -   -   <b>1</b>   -
+     <b>1</b>   -   <b>1</b>   <b>1</b>  | -   -   <b>1</b>   -  | <b>1</b>   -   -   <b>1</b>  | -   -   <b>1</b>   -  (capo this string up 1 fret)
      -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
    -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
@@ Line 82: / Line 357: @@
   Vv       12  .   11  13  13  .
+</tt>
-<br>
-<br>
-</tt><br>
 === Hotel California (The Eagles) ===
 The song doesn't pump any commas, because there are no common notes between the last few chords. There are two approaches to translating the verse. One way avoids pitch shifts between adjacent chords:
 <tt>
@@ Line 94: / Line 365: @@
   ^^bVIv   ^^bIIIv  ^IV^m    Vv7
 </tt>
+This translation travels down the neck, only to rapidly climb back up in the last two measures. The tonic should be at least 3 dots up the neck, to allow room to walk down. The melody strays from the key.
-This arrangement travels down the neck, only to rapidly climb back up in the last two measures. The melody strays from the key.
+Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords.
-Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords. The shift can be lessened by bending the entire VII chord sharp a third-fret, and  bending the next chord sharp a sixth-fret.
 <tt>
   I^m      Vv       bVIIv    IVv
   ^bVIv    ^bIIIv   IV^m     Vv7
 </tt>
 The chorus is straightforward:
 <tt>
@@ Line 114: / Line 385: @@
 === Stairway To Heaven intro (Led Zeppelin) ===
 This piece is harmonically quite simple, entirely 5-limit. Included because it's the classic guitar show-off piece! This translation is note for note, except the voicing of the final ^bVIIv chord is changed from 1 8 10 15 to 8 10 12 15. No comma issues, except for the ^bVIIv - IV4 chord change. The IV4 chord is very brief, so the ^b7 to b7 pitch shift isn't too problematic. Or perhaps bend the b7 up half a fret or so, to match the previous ^b7, makes the chord be IV(^4).
@@ Line 153: / Line 423: @@
   -  -  -  8  -  -  -  -  -  -  -  -  -  -  3  5  -  -  -  8  -  -  -  -  -  -  -  -  -  -  -
    -  -  -  -  -  -  -  -  -  -  -  -  6  -  6  -  -  -  -  -  -  -  -  -  -  -  -  -  -  -  -  -
 </tt>
+=== Kashmir in DADGAD (Led Zeppelin) ===
+Sources:
+* https://www.youtube.com/watch?v=ODidAgdL40Y
+* https://www.youtube.com/watch?v=iQpopHobZZc
+* https://www.youtube.com/watch?v=UMOU-HUYCqM
+* https://tabs.ultimate-guitar.com/tab/led-zeppelin/kashmir-tabs-104407
+The 12-equal version also uses DADGAD, so the frettings and fingerings are very similar. The Kite guitar tab assumes odd-numbered frets. Fret #1 is 1\41 from the nut, fret #2 is 3\41. etc. Fret #21 is at the octave. If you don't have an odd-fretted Kite guitar, use a half-fret capo.
+There are two translations. One is mostly faithful to the original. The other demonstrates 41-equal's melodic possibilities by making the first two riffs be twice as long.
+Riff #1 faithful (T stands for 10)
+<tt>
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | 4 4 4 - - - 4 4 | 4 - - - 6 6 6 - | - - 6 6 6 - - - | 8 8 8 - - - 8 8 | 8 - - - T T T - | - - T T T - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | 9 9 9 - - - 9 9 | 9 - - - 9 9 9 - | - - 9 9 9 - - - | 9 9 9 - - - 9 9 | 9 - - - 9 9 9 - | - - 9 9 9 - - - |
+ | - - - - - - - - | - - 0 - - - - - | - - - - - - 0 - | - - - - - - - - | - - 0 - - - - - | - - - - - - 0 - |
+ | - - - - - - - - | - - - - - - - - |
+ | 9 9 9 - - - - - | - - - - - - - - |
+ | - - - - - - 4 4 | 4 - - - 6 6 6 - |
+ | - - - - - - - - | - - - - - - - - |  etc.
+ | 9 9 9 - - - 9 9 | 9 - - - 9 9 9 - |
+ | - - - - - - - - | - - 0 - - - - - |
+</tt>
+Use the fretted 5th string not the open 4th string so that you can dampen the note and make a clean gap for the drums to fill. The obvious translation of the melody would be A ^Bb vB C D. But I chose A ^Bb ^B ^^C D. The ^B and ^^C are less consonant, but I liked the sinister effect of increasing dissonance. I also liked the uniform step size of 2 frets (except the last step is 2.5 frets). The division of the 4th into 4 near-equal steps is quite striking.
+Riff #1a double-long (T stands for 10, E for 11)
+<tt>
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | 4 4 4 - - - 4 4 | 4 - - - 5 5 5 - | - - 5 5 5 - - - | 6 6 6 - - - 6 6 | 6 - - - 7 7 7 - | - - 7 7 7 - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | 9 9 9 - - - 9 9 | 9 - - - 9 9 9 - | - - 9 9 9 - - - | 9 9 9 - - - 9 9 | 9 - - - 9 9 9 - | - - 9 9 9 - - - |
+ | - - - - - - - - | - - 0 - - - - - | - - - - - - 0 - | - - - - - - - - | - - 0 - - - - - | - - - - - - 0 - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | 8 8 8 - - - 8 8 | 8 - - - 9 9 9 - | - - 9 9 9 - - - | T T T - - - T T | T - - - E E E - | - - E E E - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | 9 9 9 - - - 9 9 | 9 - - - 9 9 9 - | - - 9 9 9 - - - | 9 9 9 - - - 9 9 | 9 - - - 9 9 9 - | - - 9 9 9 - - - |
+ | - - - - - - - - | - - 0 - - - - - | - - - - - - 0 - | - - - - - - - - | - - 0 - - - - - | - - - - - - 0 - |
+ | - - - - - - - - | - - - - - - - - |
+ | 9 9 9 - - - - - | - - - - - - - - |
+ | - - - - - - 4 4 | 4 - - - 5 5 5 - |
+ | - - - - - - - - | - - - - - - - - |  etc.
+ | 9 9 9 - - - 9 9 | 9 - - - 9 9 9 - |
+ | - - - - - - - - | - - 0 - - - - - |
+</tt>
+I was tempted to have the upper voice switch strings sooner, and finish with vm7 ^my vM7 ^M7 P8. But I decided the steadily increasing dissonance of vM6 m7 ~7 M7 was a feature, not a bug. And I liked having the final step be larger than all the others, as it is in the 12-equal original. Also, M7 is less dissonant than ^M7.
+In both versions, the extra lick goes 3rd string frets 4 2 4 7 4 2 4, 4th string fret 7, rhythm is e & a 4 e & a 1. Or up an octave at 2nd string 21 19 21 24 21 19 21, 3rd string 19.
+Riff #2 faithful:
+<tt>
+ | 21 -  - 21  -  - 17  - | - 17  -  -  -  -  -  - | 9  -  -  9  -  -  5  - | -  5  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  - 21  - 21  - | 0  -  -  0  -  -  0  - | -  0  -  -  -  -  -  - |
+ | 21 -  - 19  -  - 17  - | - 16  -  -  -  -  -  - | 9  -  -  7  -  -  5  - | -  4  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  - 21  - 19  - | 0  -  -  0  -  -  0  - | -  0  -  -  5  3  0  - |
+ | -  -  -  -  -  -  -  - | -  -  -  - 21  - 21  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  - 21  - 21  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+</tt>
+The highest voice uses the descending downminor pentatonic scale D vC A G vF D. The 5th and 6th chords are played up high due to the lack of D and A notes near the 13th fret.
+Riff #2a double-long (pentatonic version):
+ | 21 -  - 21  -  - 21  - | - 21  -  - 17  - 17  - | 17 -  - 17  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  - 21  - | - 21  -  - 21  - 21  - |
+ | 21 -  - 20  -  - 19  - | - 18  -  - 17  - 16  - | 15 -  - 14  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  - 21  - | - 20  -  - 19  - 18  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  - 21  - | - 21  -  - 21  - 21  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  - 21  - | - 21  -  - 21  - 21  - |
+ | 9  -  -  9  -  -  9  - | -  9  -  -  5  -  5  - | 5  -  -  5  -  -  5  - | -  5  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  -  0  - | -  0  -  -  -  -  -  - |
+ | 9  -  -  8  -  -  7  - | -  6  -  -  5  -  4  - | 3  -  -  2  -  -  1  - | -  0  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  -  0  - | -  0  -  -  5  3  0  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+</tt>
+Here the 2nd highest voice moves mostly by single frets, twice by a half-fret, and once by 1.5 frets.
+<tt>
+   G   ^F#  vF#  ^F   vF    E
+ vvE    Eb   D   ^C#  vC#  ^C
+   C   ^B   vB   ^Bb  vBb   A
+  ^G#  vG#  ^G    G   vF  vvE  D
+</tt>
+If you can't play the ^G, just play the G twice.
+Riff #2b double-long (decatonic version):
+ | 21 -  - 21  -  - 19  - | - 19  -  - 17  - 17  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 23 -  - 23  -  - 21  - | - 21  -  - 19  - 19  - |
+ | 21 -  - 20  -  - 19  - | - 18  -  - 17  - 16  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 23 -  - 22  -  - 21  - | - 20  -  - 19  - 18  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | 21 -  - 21  -  - 21  - | - 21  -  - 21  - 21  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | 21 -  - 21  -  - 21  - | - 21  -  - 21  - 21  - |
+ | 9  -  -  9  -  -  7  - | -  7  -  -  5  -  5  - | 5  -  -  5  -  -  5  - | -  5  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  -  0  - | -  0  -  -  -  -  -  - |
+ | 9  -  -  8  -  -  7  - | -  6  -  -  5  -  4  - | 3  -  -  2  -  -  1  - | -  0  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  -  0  - | -  0  -  -  5  3  0  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+</tt>
+In this version, the 2nd bar is slightly different:
+<tt>
+   G   ^F#  vF#  ^F   vF    E
+  ^Eb  vEb   D   ^C#  vC#  ^C
+   C   ^B   vB   ^Bb  vBb   A
+  ^G#  vG#  ^G    G   vF  vvE  D
+</tt>
+In all three versions, the final 3 notes could have been 5 4 0 = vm3 M2 P1. But I liked the sound of the mid-2nd. Makes it more middle eastern. Another possibility is 6 3 0 = ^m3 ~2 P1, even more middle eastern. But the upper voice has just finished hanging on the vm3, so that seemed to fit better.
+Riff #3:
+<tt>
+                                              (slide down)
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 4  -  -  -  -  -  4  - | -  -  4  -  -  - 16  - | -  -  4  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 4  -  -  -  -  -  7  - | -  -  4  -  -  - 19  - | -  -  4  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 0  -  -  -  -  -  0  - | -  -  0  -  -  - 21  - | -  -  0  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 4  -  -  -  -  -  4  - | -  -  4  -  -  - 16  - | -  -  4  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 4  -  -  -  -  -  7  - | -  -  4  -  -  - 19  - | -  -  4  -  -  -  -  - | -  -  5  3  0  -  -  0 |
+ | 0  -  -  -  -  -  0  - | -  -  0  -  -  - 21  - | -  -  0  -  -  -  -  - | -  -  -  -  -  0  4  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+</tt>
+Riff #4 ("All I see") is simply a G5 chord and an A5 chord:
+<tt>
+x 0 0 9 9
+ x 0 4 x 0 4
+</tt>
+This song nicely illustrates 3 of the 5 broad categories of 41-equal scales:
+* pentatonic: riff #2 & #2a upper voice
+* heptatonic
+* semitonal: riff #1, riff #2 lower voice, riff #2b upper voice
+* fretwise: riff #1a, riff #2a & #2b lower voice
+* microtonal
 === Greensleeves (traditional) ===
+The 2nd chord in the first two lines, ^bVIIv, is an optional passing chord. The V7 chord is translated as Vv^7, because Vv7 sounds inappropriate for Renaissance music. The chord is voiced 1-5-7-10, and the interval from the 7th up to the 10th is a mid 4th. 41-edo flattens this 25/18 interval nearly down to 11/8. Somehow 11/8 sounds less out of place than 10/7! The melody uses the up 4th, to match this chord and also the ^bVIIv chord. The plain 4th is only used as part of the IV^m chord.
-The 2nd chord in the first two lines, ^bVIIv, is an optional passing chord. The V7 chord is translated as Vv,^m7, because Vv7 sounds inappropriate for Renaissance music. The chord is voiced 1-5-7-10, and the interval from the 7th up to the 10th is a mid 4th. 41-edo flattens this 25/18 interval nearly down to 11/8. Somehow 11/8 sounds less out of place than 10/7! The melody uses the up 4th, to match this chord and also the ^bVIIv chord. The plain 4th is only used as part of the IV^m chord.
 The 3rd note of both the 3rd quarter and the 4th quarter of the song ("Greensleeves '''was''' my") is controversial. Some say it's a major 6th, some say minor. In the tabs, both possibilities are shown.
 <tt>
-   Ivm    (^bVIIv)  ^bIIIv        |  ^bVIIv           V^m        |  ^bVIv          IV^m         |  Vv           /
+   I^m    (^bVIIv)  ^bIIIv     |  ^bVIIv        V^m     |  ^bVIv       IV^m      |  Vv        /
-                                 |                              |                              |
+                              |                        |                        |
-   Ivm    (^bVIIv)  ^bIIIv        |  ^bVIIv           V^m        |  ^bVIv          Vv,^m7       |  I^m          /
+   I^m    (^bVIIv)  ^bIIIv     |  ^bVIIv        V^m     |  ^bVIv       Vv^7      |  I^m       /
-                                 |                              |                              |
+                              |                        |                        |
-   ^bIIIv             /           |  ^bVIIv           V^m        |  ^bVIv          IV^m         |  Vv           /
+   ^bIIIv             /        |  ^bVIIv        V^m     |  ^bVIv       IV^m      |  Vv        /
-                                 |                              |                              |
+                              |                        |                        |
-   ^bIIIv             /           |  ^bVIIv           V^m        |  ^bVIv          Vv,^m7       |  I^m          /
+   ^bIIIv             /        |  ^bVIIv        V^m     |  ^bVIv       Vv^7      |  I^m       /
 </tt>
@@ Line 176: / Line 599: @@
 -string tab in E upminor:
 <tt>
-         Ivm                  ^bIIIv               ^bVIIv               V^m
+         I^m                  ^bIIIv               ^bVIIv               V^m
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  1  .  |  4  .  .  6  4  .  |  1  .  .  .  .  .  |  .  .  .  .  .  .  |
@@ Line 192: / Line 615: @@
       |  3  .  .  .  .  .  |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
-         Ivm                  ^bIIIv               ^bVIIv               V^m
+         I^m                  ^bIIIv               ^bVIIv               V^m
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  1  .  |  4  .  .  6  4  .  |  1  .  .  .  .  .  |  .  .  .  .  .  .  |
@@ Line 200: / Line 623: @@
       |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
-         ^bVIv                Vv,^m7               I^m
+         ^bVIv                Vv^7                 I^m
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
@@ Line 208: / Line 631: @@
       |  3  .  .  .  .  .  |  1  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
+     -------------------------------------------------------------------------------------
          ^bIIIv                                    ^bVIIv               V^m
@@ Line 215: / Line 638: @@
       |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  2  .  .  .  2  .  |  .  .  .  .  2  .  |     not both
       |  2  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  5  .  .  |
       |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  0  .  .  .  .  .  |  3  .  .  .  .  .  |
       |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
          ^bVIv                IV^m                 Vv
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  4  .  .  .  .  .  |  .  .  .  .  .  .  |  2  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  5  .  .  .  5  .  |  5  .  .  3  5  .  |  3  .  .  .  3  .  |  .  .  .  .  5  .  |
       |  5  .  .  .  .  .  |  5  .  .  .  .  .  |  3  .  .  .  .  .  |  3  .  .  .  .  .  |
       |  3  .  .  .  .  .  |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
          ^bIIIv                                    ^bVIIv               V^m
-      |  3  .  .  .  .  .  |  3  .  .  1* .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |   * see above
+      |  3  .  .  .  .  .  |  3  .  .  1* .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |   * same
       |  4  .  .  .  .  .  |  4  .  .  6* 4  .  |  1  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  2  .  .  .  2  .  |  .  .  .  .  2  .  |
@@ Line 234: / Line 657: @@
       |  3  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
-         ^bVIv                Vv,^m7               I^m
+         ^bVIv                Vv^7                 I^m
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
@@ Line 243: / Line 666: @@
 </tt>
--string tab in A upminor:
+-string tab in A upminor. Adding the notes in parentheses creates the passing chords.
 <tt>
-        Ivm      (^bVIIv)    ^bIIIv               ^bVIIv               V^m
+        I^m      (^bVIIv)    ^bIIIv               ^bVIIv               V^m
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  3  .  |  6  .  .  8  6  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
@@ Line 265: / Line 688: @@
       |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |
-         Ivm      (^bVIIv)   ^bIIIv                ^bVIIv               V^m
+         I^m      (^bVIIv)   ^bIIIv                ^bVIIv               V^m
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  3  .  |  6  .  .  8  6  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
@@ Line 275: / Line 698: @@
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |
-         ^bVIv                Vv,^m7               I^m
+         ^bVIv                Vv^7                 I^m
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
@@ Line 285: / Line 708: @@
       |  6  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
+     -------------------------------------------------------------------------------------
          ^bIIIv                                    ^bVIIv               V^m
@@ Line 292: / Line 715: @@
       |  .  .  .  .  6  .  |  .  .  .  .  .  .  |  4  .  .  .  4  .  |  .  .  .  .  4  .  |     not both
       |  .  .  4  .  .  .  |  .  .  4  .  .  .  |  .  .  .  .  .  .  |  4  .  .  7  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  2  .  .  .  |  5  .  .  .  .  .  |
       |  5  .  .  .  .  .  |  5  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  3  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |
          ^bVIv                IV^m                 Vv
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  7  .  .  .  7  .  |  7  .  .  5  7  .  |  5  .  .  .  5  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  7  .  .  .  .  .  |  .  .  .  .  .  .  |  5  .  .  .  .  .  |
       |  .  .  5  .  .  .  |  .  .  8  .  .  .  |  .  .  3  .  .  .  |  .  .  3  .  .  .  |
       |  .  .  .  .  .  .  |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |
          ^bIIIv                                    ^bVIIv               V^m
-      |  5  .  .  .  .  .  |  5  .  .  3* .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |   * see above
+      |  5  .  .  .  .  .  |  5  .  .  3* .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |   * same
       |  6  .  .  .  .  .  |  6  .  .  8* 6  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  6  .  |  .  .  .  .  .  .  |  4  .  .  .  4  .  |  .  .  .  .  4  .  |
@@ Line 317: / Line 740: @@
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |
-         ^bVIv                Vv,^m7               I^m
+         ^bVIv                Vv^7                 I^m
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
       |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
@@ Line 384: / Line 807: @@
            -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
+          ----------------------------------------------------------------
   chorus   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -        IV5,9      IV5,v7
@@ Line 414: / Line 837: @@
            -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
+          ----------------------------------------------------------------
   bridge   17  -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -        ^bVIv
@@ Line 432: / Line 855: @@
           etc.
+          ----------------------------------------------------------------
   outro    -   -   0   -  | 3   0   -   0  | -   -   0   -  | 3   0   -   0        Iv,9
@@ Line 449: / Line 872: @@
 </tt>
+=== Getting In Tune (The Who) ===
+Hah, with a title like that, who can resist translating it? I'm using absolute notation (notes) rather than relative notation (roman numerals) because of the many modulations.
+<tt>
+  verse:   |  Fv       /       Bb2       /     |  Fv       /        Bb2      /     |\
+           |  Fv       /       Bb2       /     |  Fv       /        C4       Cv    | \
+           |                                   |                                   |  (2x)
+ chorus:   |  Fv      Eb^9    ^Gv7      ^Abv6  |   /      Bbv       Fv       /     | /
+           |                                   |                                   |/
+ bridge:   | vG^m7     /       EbvM7     /     |  Bbv      /
+           |  Cv       C4      Cv        C4    |  Cv       C4       Cv       C4    | (2x)
+           |                                   |                                   |
+  verse:   |  Gv       /       C2        /     |  Gv       /        C2       /     |
+           |  Gv       /       C2        /     |  Gv       /        D4       Dv    |
+           |                                   |                                   |
+ chorus:   |  Gv       F^9    ^Av7      ^Bbv6  |   /       Cv       Gv       /     | (2x)
+           |                                   |                                   |
+ bridge:   | vA^m7     /       FvM7      /     |  Cv       /
+           |  Dv       D4      Dv        D4    |  Dv       D4       Dv       D4    | (many times)
+</tt>
+The 2nd half of the song is the same as the first half, just a major 2nd higher. Translating the verse ("I'm singing this note...") is extremely straightforward. (Note that the vocal melody uses only chord roots, 5ths and sus 2nds, so it actually *is* right in tune even in 12edo!)
+In the chorus ("Right in on you..."), the vocal melody stays on the F. Thus F must relate well to all the chords. F is a M9 from Eb, a m7 from G, a M6 from Ab and a 5th from Bb. Let's add in the ups and downs. The Eb chord's root must be a plain Eb, because an ^Eb or vEb chord would have a 5th of ^Bb or vBb, which would make an offperfect 5th with the vocal's F. The G chord plus the vocal's F note must be either ^Gv7 or vG^7, or possibly Gv,7. The Ab chord must be ^Abv to get a consonant vM6 from the root to F. (vAb^ would be too dissonant, especially with the vocal adding a 6th to make vAb^6, and especially with this chord being held extra long.) The Bb chord is of course Bbv.
+The Eb chord and the G chord have common tones. Thus our choice of a G chord helps determine our Eb chord. To avoid a pitch shift, we can rule out Gv,7. vG^7 implies Ebv, and ^Gv7 implies Eb^ (or more likely Eb^7, because adding the 7th makes it more consonant). Thus one of the chords will be harmonic and the other subharmonic. In this situation, I usually put the more dissonant subharmonic chord in the less prominent place. If the chords change on every bar, this means putting it on a "backbar", i.e. the 2nd or 4th bar of a 4-bar section, or the 2nd, 4th, 6th or 8th bar of an 8-bar section. (By analogy with downbeat/backbeat, the odd-numbered bars are "downbars".) In this case, with the chords changing every half-bar, I put the subharmonic chord on the "back half" of the bar, to get Fv - Eb^9 - ^Gv7 - ^Abv6. The root movement from ^Gv7 to ^Abv6 is a plain m2, whereas using vG^7 would create an odd-sounding ~2 movement from vG to ^Ab.
+Of course, one could avoid subharmonic chords entirely and have Ebv and ^Gv7. This creates a fairly obvious one-fret pitch shift from vG to ^G. While this can work in an original piece, that's too blatantly microtonal for a 12edo translation. I prefer the IMO relatively mild harmonic/vertical dissonance of a subharmonic chord over the IMO more extreme melodic/horizontal dissonance of a large pitchshift.
+The bridge is straightforward. We want plain Bb and C roots, to keep the sense of key. To avoid an offperfect root move, Eb must be plain as well. Again, the G chord and the Eb chord have common tones, so we want a vG root.
+=== Blackbird (Beatles) ===
+This charming song is a great study in 10ths! Over a constant G drone in the middle voice:
+<tt>
+ Blackbird...  | vb   c  |  d | vb' vb' | vb' vb' |
+               |  G  vA  | vB |  g   g  |  g   g  |
+ Take these... | ve   g' | vf# a' |  g   g |  g   g  |
+               |  C  ^C# |  D  D# | vE  vE | vEb vEb |
+ All your life | vf#  g' | ve ve | veb veb |
+               |  D   Db |  C  C |  C   C  |
+ You were only |  d   d  | c# c# | c c | vb vb |
+  waiting...   | vB  vB  | ^A ^A | D D |  G  G |
+               | ve   d  | c# c# | c c | vb vb |
+               |  C  vB  | ^A ^A | D D |  G  G |
+ Blackbird fly |  a'  g' | ^f ve |  d   d  | ve ve |
+               | ^F  vE  |  D  C | ^Bb ^Bb |  C  C |
+ Blackbird fly |  a'  g' | ^f ve |  d   d  |
+               | ^F  vE  |  D  C | ^Bb ^Bb |
+ Into the      |  c#  c# | c  c  | vb   c  |  d | vb'   (etc.)
+  light...     | ^A  ^A  | D  D  |  G  vA  | vB |  g
+               | vb   c  |  d ve |  d c# | c  c |
+               |  G  vA  | vB  C | vB ^A | D  D |
+</tt>
+The bass often moves chromatically, landing on a scale note on the downbeat (P4, P5, M6) and a non-scale passing tone on the backbeat (A4/d5 or m6). In general I chose the passing tone so that the step away from it is smaller than the previous step to it. Because to my ear P4 - A4 - P5 sounds better melodically than P4 - vA4 - P5.
+In the 2nd line, on "broken", I would have preferred the bass to be C#. But C# is on the 4th fret, too far away. Rather than settle for vC#, I went with the rather unusual ^C#. It makes 11/8 and 11/4 with the other two voices, about as consonant as a sharp 11th can get.
+Continuing to minimize the final step, the 4th bass note is D# aka ^Eb. And the 7th and 8th notes are vEb, even though it makes a dissonant 9/7 and 18/7. And the "All your life" line has Db and veb.
+Thus the bass melody is C ^C# D D# vE vE vEb vEb D Db C. When ascending, it has slightly sharper passing tones than when descending. It's like a microtonal version of 12edo's melodic minor melody P5 M6 M7 P8 m7 m6 P5. Unlike a more blatant microtonal melody like say vM6 ^m6 vm6 P5, this melody doesn't directly challenge one's 12-tone perceptions. Which would of course be inappropriate for a well-known Beatles song. Thus we get to "sneak in" some microtonality.
+In the 4th line, I chose an ^A bass note to make a 7/4 with the G drone. A plain A would probably be better melodically, but in the open upminor tuning I chose, it's inaccessible. The final D7sus4 chord uses plain C (i.e. 16/9) to avoid an offperfect 4th.
+There is a mid 2nd in the bass line on "You were only waiting" (vB to ^A). And also in the "Blackbird fly" lines (^F vE) in both the high and low voices. Whereas a mid interval from the tonic (say ~2 or ~3) immediately sounds non-12-tone, these mid 2nds don't jump out at me. Another way to sneak in some microtonality!
+Tab for 6-string guitar tuned low to high G ^Bb D G ^Bb D:
+<tt>
+  Blackbird singing in the dead of night
+ |  -  -  -  -  -  -  -  - |  0  -  -  - | 15  -  - 15  -  - 15  - | 15  -  - 15  -  - 15  - |
+ |  1  -  -  -  3  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  1  -  -  - | 15  -  -  - 15  -  -  - | 15  -  -  - 15  -  -  - |
+ |  0  -  -  -  3  -  -  - |  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  Take these broken wings and learn to fly
+ |  3  -  -  - 15  -  -  - |  -  -  -  - 12  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - | 13  -  -  -  -  -  -  - | 15  -  - 15  -  - 15  - | 15  -  - 15  -  - 15  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  3  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  - 11  -  -  - | 12  -  -  - 14  -  -  - | 15  -  -  - 15  -  -  - | 13  -  -  - 13  -  -  - |
+  All your life
+ |  -  -  -  -  -  -  -  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+ | 13  -  -  - 15  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  3  -  -  -  3  -  -  - |  3  -  -  -  3  -  -  - |
+ | 12  -  -  - 10  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  You were only waiting for this moment to arrive
+ |  0  -  -  0  -  -  0  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+ |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |
+ |  1  -  -  -  1  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
+ |  3  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  1  -  -  1  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |
+ |  3  -  -  -  1  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  -  -  -  -  -  - |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
+ (2nd verse, "sunken eyes")
+  Blackbird fly
+ | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  0  -  -  0  - |  3  -  -  3  -  -  3  - |
+ |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  -  0  -  -  - |  3  -  -  -  3  -  -  - |
+ |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  Blackbird fly
+ | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  0  -  -  0  - |
+ |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ | 12  -  -  -  -  -  -  - |  -  -  -  -  3  -  -  - |  0  -  -  -  0  -  -  - |
+ |  -  -  -  - 15  -  -  - | 12  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+  Into the light of the dark black night
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  - | 15
+ |  5  -  -  5  -  -  5  - |  3  -  -  3  -  -  3  - |  1  -  -  -  3  -  -  - |  -  -  -  - |  -
+ |  -  -  0  -  -  0  -  - |  -  -  0  -  -  0  -  - |  -  -  0  -  -  -  0  - |  -  -  0  - |  -     etc.
+ |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  - |  -
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  1  -  -  - | 15
+ |  4  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  3  -  -  - |  -  -  -  - |  -
+ |  -  -  -  -  -  -  -  - |  0  -  -  -  3  -  -  - |  0  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  1  -  -  -  3  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  5  -  -  - |  3  -  -  3  -  -  3  - |
+ |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  -  0  - |  -  -  0  -  -  0  -  - |
+ |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |  0  -  -  -  0  -  -  - |
+ |  -  -  -  -  -  -  -  - |  1  -  -  -  3  -  -  - |  1  -  -  -  -  -  -  - |  -  -  -  -  -  -  -  - |
+ |  0  -  -  -  3  -  -  - |  -  -  -  -  -  -  -  - |  -  -  -  -  4  -  -  - |  -  -  -  -  -  -  -  - |
+</tt>
+=== Nowhere (Angela Mair) ===
+Source: https://www.youtube.com/watch?v=5-49jLxcCJQ <br>
+edo score and tab available at https://bergmann-edition.com/products/angela-mair-nowhere
+A recent composition (Feb 2023). Arranged for an 8-string Kite guitar with extra 3.5, 6.5 and 8.5 frets. In the tab, the extra frets are named d, g and i. The open strings are tuned vC# E A vC# E vG# B E.
+Bars 5-7 are tricky. In 12edo, the chords are F#m, B and A. Here bar 5 has vF#^m, which suggests bar 6 should have vBv. But that harms the bass melody in bars 6 and 7, which in 12edo is D# to E. A vBv chord would make vvD# to E, a step of a mid 2nd, too wide.
+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>
 == Tetradic Songs ==
 === I Will (The Beatles) ===
-This song pumps the [[81/80|Meantone comma]] very rapidly. The Gvm7 chords could instead be G^m7 chords. Note the ^4 root movement from vD to G. Alternatively, a plain-D root could be used. But using a down-D root links the D chord more strongly to the F chord. This makes the first 4 chords of the song feel like only two: Fv6 and CM9<tt>.
+This song pumps the [[81/80|Meantone comma]] very rapidly. The Gvm7 chords could instead be G^m7 chords. Note the ^4 root movement from vD to G. Alternatively, a plain-D root could be used. But using a down-D root links the D chord more strongly to the F chord. This makes the first 4 chords of the song feel like only two: Fv6 and C9.
-</tt>
-  <tt>Fv     vD^m7    Gvm7    Cv7    |    Fv     vD^m     vA^m
+  Fv     vD^m7    Gvm7    Cv7    |    Fv     vD^m     vA^m
                                  |
   Fv7    Bbv      Cv7     vD^m   |    Fv     Bbv      Cv7
@@ Line 465: / Line 1,136: @@
                                  |
   Bbv    vA^m    vD^m7    /      |    Gv7      /      Cv7      /
 </tt>
+=== Love Is A Losing Game (Amy Winehouse) ===
+Source for the chords: https://www.youtube.com/watch?v=l3NN5jywLBs
+<tt>
+ intro:  F^d7
+ main:   CvM7     Fv/G     F^m7     CvM7  (2x)
+         vA^m7    vD^m7    F^m7     CvM7
+         CvM7     Fv/G     F^m7     CvM7
+         F^d7     G#vd7
+</tt>
+<tt>
+ intro:  IV^d7
+ main:   IvM7     IVv/2    IV^m7    IvM7  (2x)
+         vVI^m7   vII^m7   IV^m7    IvM7
+         IvM7     IVv/2    IV^m7    IvM7
+         IV^d7    #Vvd7
+</tt>
+No comma pumps, in fact every chord except for the two dim7 chords contains the tonic. The chords are mostly 5-limit.
+The IV/2 chord can be thought of as a V11no35 chord. This is an innate-comma chord. The 7th and 11th must make a perfect 5th. The 11th should be plain (8/3). The 9th should too (9/4). It should also be 5/4 above the 7th. Not all of these can be true. This translation uses IVv/2 = V11(v9)no35. The down-9th is a somewhat wolfy 20/9 or 11/5. It's a little awkward to play. It helps to finger the bass note last. Another possibility is ^IVv/v2 = V^9,^11no35 = x3xx110. The wolfy up-11th is 27/10 or 19/7. It causes a pitch shift for the tonic.
+in 12edo, the two dim7 chords are equivalent, and can be thought of as a V7b9noR chord. There are several ways to translate them to 41edo. For the first chord, I chose to make the root and 3rd match the IV^m7 chord. For the second chord, I chose to keep as many common notes as possible with the previous chord, and to have the 3rd match the 7th of the following chord.
+A note-for-note translation to plain C isn't possible because there is no low F on the guitar. So this translation is in ^C downmajor, for a 7-string guitar in low-7 tuning.
+<tt>
+ ^F^d7     . 20  . 17 16 20  .
+ ^CvM7     .  .  5  .  4  4  6
+ ^Fv/^G    .  3  .  7  7  6  .
+ ^F^m7     6  .  .  4  6  6  .
+ ^CvM7     (as before)
+  A^m7     .  6  .  .  4  6  6
+  D^m7     .  .  8  .  7  6  8
+ ^F^m7     (as before)
+ ^CvM7     (as before)
+ ^F^d7     (as before)
+ ^G#vd7    .  . 19  . 16 14 18
+</tt>
+The picking pattern:
+<tt>
+  -   -   6   -  | -   6   -   -  | -   -   -   -  | -   -   -   -
+  -   -   4   -  | -   4   -   -  | -   -   6   -  | -   6   -   -
+  -   4   -   -  | -   4   -   -  | -   -   7   -  | -   7   -   -    etc.
+  -   -   -   -  | -   -   -   -  | -   7   -   -  | -   7   -   -
+   -   -   5  | 5   -   -   -  | -   -   -   -  | -   -   -   -
+  -   -   -   -  | -   -   -   -  | 3   -   -   3  | 3   -   -   -
+  -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
+</tt>
 === Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) ===
-This song showcases the 4:5:6:7 tetrad as the main chord for the blues.
+This song showcases the 4:5:6:7 tetrad as the main chord for the blues. The turnaround chord is an aug chord.
 <tt>
   Gv7   D^m vE^m    Dvm     Gv9   |   Cv7   G^m vA^m   Gvm     Cv9
@@ Line 481: / Line 1,224: @@
   vA^m7    /          /      /    |   C^m7      /       /       /
                                   |
-  Gv7      /         Cv7     /    |   Gv7       /     Dvaug     /
+  Gv7      /         Cv7     /    |   Gv7       /     Dva       /
 </tt>
@@ Line 496: / Line 1,239: @@
   vII^m7   /          /      /    |  IV^m7      /       /       /
                                   |
-  Iv7      /        IVv7     /    |   Iv7       /     Vvaug     /
+  Iv7      /        IVv7     /    |   Iv7       /     Vva       /
 </tt>
-Chords for 6-string guitar, in A
+Chords for 6-string guitar, in A downmajor
 <tt>
   Iv7         6  .  5  3  7  .
@@ Line 531: / Line 1,274: @@
   IV^m7       .  8  7  7  6  .        some people play a different chord here
-  Vvaug       .  .  5  5  6  6        could be translated as Vv(^^5) which is . . 5 5 5 6
+  Vva         .  .  5  5  6  6        could be translated as Vv(^^5) or Vvhalf-aug which is . . 5 5 5 6
 </tt>
@@ Line 541: / Line 1,284: @@
   A^m7      D^m7       Gv7       CvM7
-  FvM7      Bvm7(b5)   Esus4     Ev7
+  FvM7      Bvdv7      Esus4     Ev7
-<br>
-<br>
 </tt>
 In relative notation:
@@ Line 551: / Line 1,291: @@
   I^m7      IV^m7      bVIIv7    bIIIvM7
-  bVIvM7    IIvm7(b5)  Vsus4     Vv7
+  bVIvM7    IIvdv7     Vsus4     Vv7
 </tt>
@@ Line 566: / Line 1,306: @@
   bVIvM7     .  1  1  0  0  2       possible fingering . 1 2 . . 3
-  IIvm7(b5)  .  .  5  3  2  2       a down-halfdim chord
+  IIvdv7     .  .  5  3  2  2
   Vsus4      6  .  5  7  9  .
@@ Line 585: / Line 1,325: @@
   bVIvM7     1  .  0  0  2  1       possible fingering 1 . . . 3 2
-  IIvm7(b5)  .  5  3  2  2  .       a down-halfdim chord
+  IIvdv7     .  5  3  2  2  .
   Vsus4      .  .  7  9  6  8
@@ Line 594: / Line 1,334: @@
 === Manhattan Island Serenade (Leon Russell) ===
+Source: https://www.youtube.com/watch?v=ytZkLzi-0W8
 This particular translation adds 7ths to all the chords and features ^7 and ^9 chords resolving to ^m7 and v7 chords. The key is upminor, even though downminor is usually better than upminor for bluesy songs. But this song modulates to the relative major, and starting in downminor would lead to a dissonant upmajor key.
-<tt>
    E^m7     /     A^m7     /     |  B4     B^7    E^m7     /
                                  |
@@ Line 632: / Line 1,374: @@
 </tt>
-Chords for six-string guitar in the key of vBb:
+Chords for six-string guitar in the key of vBb upminor:
 <tt>
    I^m7       7  .  .  5  7  7      high-3-5 voicing, fingering is 2 1 3 4
@@ Line 670: / Line 1,412: @@
   ^G^m9       /      vvEv7      /      |    A^m7    Dv7b9b12   G^m7    Cv7b9b12
+</tt>
-<br>
+Relative notation.
-<br>
+<tt>
-</tt>Relative notation.<tt>
   IvM9        /      IIv6       /      |    vII^m7  #Iv7(b5)   IvM7    #Iv7(b5)
                                        |
@@ Line 683: / Line 1,424: @@
 Tab in vB, with fingerings, for 6-string guitar:
 <tt>
-  ----------CHORDS-------------      -----MELODY NOTES--------------      --------REMARKS----------------------------
+  ----------CHORDS-------------      -----MELODY NOTES--------------      --------REMARKS----------------------
   IvM9         9  9  8  8  7  .      (2,7) (3,8) (3,5)  (on guitar)       If the melody is played/sung by another,
@@ Line 708: / Line 1,449: @@
   4  1  1
+              -------------------------------------------------------------------------------------
@@ Line 751: / Line 1,492: @@
                                        b5
+                -------------------------------------------------------------------------------------
@@ Line 773: / Line 1,514: @@
 === Killing Me Softly (Roberta Flack) ===
+Translated by Kite and Athan Spathas. Absolute notation:
-Arranged by Kite and Athan Spathas. Absolute notation:
 <tt>
-  chorus:   E^m7         A^m7         Dv7         ^Gv GvM7
+  chorus:   E^m7         A^m7         Dv7         ^Gv   ^GvM7
             E^m7         Av6          Dv7         ^Cv7
@@ Line 791: / Line 1,531: @@
             A^m7         Dv6         ^Gv ^GvM7     Bv,^7
-<br>
-<br>
 </tt>
 Relative notation:
 <tt>
-  chorus:   I^m7         IV^m7        bVIIv7      ^bIIIv ^bVIvM7
+  chorus:   I^m7         IV^m7        bVIIv7      ^bIIIv ^bIIIvM7
             I^m7         IVv6         bVIIv7      ^bVIv7
@@ Line 853: / Line 1,590: @@
    Vv,^7       2 . 1 0 3 2
 </tt>
 === Linus and Lucy (Vince Guaraldi) ===
@@ Line 862: / Line 1,598: @@
   A part:  Abv    /    Abv6   /    Abv    /    Abv6   /
-           Abv    /    Abv6   /    Cbv    /    Cbv6   /    Abv    /    Abv6   /
+           Abv    /    Abv6   /   ^Cbv    /   ^Cbv6   /    Abv    /    Abv6   /
   B part:  Dbv   Ebv   Abv6   /    Dbv   Ebv   Abv6   /    Dbv   Ebv   Abv6   /    Abv    /    Abv6   /
+</tt>
+In relative notation:
-<br>
+<tt>
-<br>
-<br>
-<br>
-In relative notation:</tt>
   Intro:   Iv     /    Iv6    /    Iv     /    Iv6    /
   A part:  Iv     /    Iv6    /    Iv     /    Iv6    /
-           Iv     /    Iv6    /   bIIIv   /   bIIIv6  /    Iv     /    Iv6    /
+           Iv     /    Iv6    /  ^bIIIv   /  ^bIIIv6  /    Iv     /    Iv6    /
   B part:  IVv    Vv   Iv6    /    IVv    Vv   Iv6    /    IVv    Vv   Iv6    /    Iv     /    Iv6    /
+</tt>
 Tab for 8-string guitar in Eb downmajor (the lowest key possible).
@@ Line 933: / Line 1,667: @@
      -   -   -   2  | -   -   -   -  | 2   -   -   2  | -   -   -   -
-    bIIIv                             bIIIv6
+   ^bIIIv                            ^bIIIv6
      -   -   -   1  | 1   -   -   -  | -   -   -   -  | -   -   -   -
      -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   4
@@ Line 953: / Line 1,687: @@
      -   -   -   2  | -   -   -   2  | -   -   -   2  | -   -   -   2
+    ----------------------------------------------------------------
      IVv         Vv       Iv6
@@ Line 996: / Line 1,731: @@
+=== Bye Bye Blackbird (Ray Henderson and Mort Dixon) ===
+Translated by Kite with input from Timmy Barnett
+<tt>
+ GvM7       /        /        /
+ GvM7     Bb^d7    vA^m7     vD^7
+ vA^m7      /        /       vD^7
+ vA^m7    Dv7      GvM7       /
+ Gv7        /      vB^d^7    vEv7
+ vA^m7      /        /       Dv7
+ GvM7       /      vB^d^7    vEv7
+ vA^m7    F#vdv7   GvM7      Dv7
+</tt>
-== Barbershop, World Music, Microtonal Music, etc. ==
+<tt>
+ IvM7       /        /        /
+ IvM7     bIII^d7  vII^m7    vV^7
+ vII^m7     /        /       vV^7
+ vII^m7   Vv7      IvM7       /
+ Iv7        /      vIII^d^7  vVIv7
+ vII^m7     /        /       Vv7
+ IvM7       /      vIII^d^7  vVIv7
+ vII^m7   VIIvdv7  IvM7      Vv7
+</tt>
-=== My old Kentucky Home (barbershop tag) ===
+The Bb^d7 chord can be thought of as a vA^7b9noR chord. In the first half, I used vD^7 because I love the sound of I^m7 - IV^7 (or IV^9).
-Accompianing a barbershop quartet with the Kite guitar is fairly easy, and highly recommended! However playing a tag note for note is often impossible, because tags often use a 3-5-7-8 chord voicing. This tag is an exception, except for the 2nd-to-last chord. Translation by Aaron Wolf.
+I translated all the original's Am7 chords to vA^m7 not plain A^m7, because the latter would have an ^G, and I wanted to keep the tonic G unchanging. This necessitates an offperfect root movement somewhere near the end of the first half. I chose for it to happen at vA to D. As Timmy pointed out, there's a problem with translating IIm7 - V7 to II^m7 - Vv7. The 4th of the scale shifts from an up-4th to a down-4th, an obvious shift of an entire fret. vA to D makes this a less noticeable shift of a half-fret. In the 2nd half, the 2nd line likewise uses vA and D roots.
-Vocal rendition, individual vocal tracks, sheet music, and videos: https://www.barbershoptags.com/tag-82-My-Old-Kentucky-Home In this version, the baritone's first "way" has been changed from an ^b3 to a b5, to avoid an 8ve with the tenor, and to provide the chord with a 7th. In 41edo, this Cb is the same note as the baritone's "home" note, just spelled differently.
+In the final line, I didn't want the vocal's held "bird" note to shift at all, not even by only a half fret. The solution is to use a vV^7 chord. The pitch shift from the vD chord's vD to the G chord's D is avoided by omitting the root. vD^9noR = F#vdv7.
+=== Alice's Restaurant (Arlo Guthrie) ===
+Source: https://www.youtube.com/watch?v=caGjFmTkJVw
 <tt>
-           For my old Ken-tuck-y home, far a-way, far a-way
+  Iv    /   vVIv7   /    IIv7  Vv7    Iv    /
-  tenor:    v6  b6  5  v3  v6  v5  v8    9  9 ^b10 v9 v9 v10
+  Iv    /   vVIv7   /    IIv7   /     Vv7   /
-  lead:      1   2 v3   1   4   3   6   v7 v7   8 --------->
+  Iv    /    Iv7    /    IVv7   /    vII^7  /
-  baritone:         1   5   1 v#1 v#4   v4 v4  b5   4  4  5     (the baritone's "Ken" note is a low note a 4th below the 1)
+  Iv    /   vVIv7   /    IIv7  Vv7    Iv    /
-  bass:             1   1   4   6   9    5  5 ^b6  b7 b7  8     (the 1 of the bass is an 8ve lower than the 1 of the other voices)
 </tt>
-Chords for 6-string guitar in Ab:
+In D downmajor, for 8-string guitar. Fingerings for chords are listed low to high. For example, 324 in the pickup bar means x3xx24xx. Play the bass line staccato.
 <tt>
-  For       IVvno1        . 18  . 20  .  .
+  fingering:                                                                            22  1   324    121 3
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
-  my        II5(b5)       .  . 15  .  12 .
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  6  .  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  7  .  .  9  .  .  9  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  7  .  .  7  .  7  .  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  6  .  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  6  .  9  .  .  .  |
+  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
-  old       Iv            4  .  .  5  5  4
+     3    12  4  3  44    3    24    31  4  2       23  1  4    23  4  1 42     3 22  1   324    121 3
+ |  .  .  .  .  .  .  .  .  |  .  . 11  .  7  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
+ |  9  .  .  .  7  9  .  .  |  .  .  .  .  .  9  .  .  |  .  2  .  .  .  9  .  .  |  .  .  .  .  .  .  6  .  |
+ |  .  .  .  .  .  .  .  9----10  .  .  .  .  .  .  .  |  4  .  .  .  7  .  .  9  |  .  7  .  .  9  .  .  9  |
+ |  .  .  .  .  .  .  .  9----10  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  7  |  .  7  .  .  7  .  7  .  |
+ |  .  .  8  .  .  .  8  .  |  .  .  8  .  .  .  8  .  |  .  .  5  .  .  .  5  .  |  .  .  .  .  .  .  .  .  |
+ |  8  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  8  .  .  .  .  .  6  .  |
+ |  .  .  .  .  6  .  .  .  |  9  .  .  .  9  .  .  .  |  4  .  .  .  6  .  .  .  |  .  .  6  .  9  .  .  .  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
-  Ken-      Iv            4  .  3  5  5  .
+     3    12  4  3  44    3    24    31  4  2       12  4  3  2 31  2  4       42  3  1  2 34    121 3
+ |  .  .  .  .  .  .  .  .  |  .  . 11  .  7  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
+ |  9  .  .  .  7  9  .  .  |  .  .  .  .  .  9  .  .  |  .  .  .  .  2  .  .  .  |  .  .  .  .  .  .  6  .  |
+ |  .  .  .  .  .  .  .  9----10  .  .  .  .  .  .  .  |  4  7  .  4  .  4  .  .  |  7  .  .  .  9  .  .  9  |
+ |  .  .  .  .  .  .  .  9----10  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  7  .  7  .  .  7  .  |
+ |  .  .  8  .  .  .  8  .  |  .  .  8  .  .  .  8  .  |  .  .  5  .  .  .  5  .  |  .  .  5  .  .  .  .  .  |
+ |  8  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  6  .  |
+ |  .  .  .  .  6  .  .  .  |  9  .  .  .  9  .  .  .  |  4  .  .  .  4  .  .  .  |  6  .  .  .  9  .  .  .  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
-  tuck-     IVv           .  6  .  5  7  7
+     3     1  4  3  2    34  2  3  1  2  4  3  1    24  1  3  4 12  4  3       32  1  4  2 31  4  3  ?
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
+ |  9  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
+ |  .  .  .  .  .  9  .  .  |  9  7  .  5  .  9  .  .  |  .  7  .  .  9  .  .  .  |  .  7  .  .  9 12  .  9  |
+ |  .  .  .  .  .  .  .  7  |  .  .  .  .  .  .  .  7  | 10  .  . 10  . 10  .  .  | 10  .  . 10  .  .  .  .  |
+ |  .  .  8  .  .  .  8  .  |  .  .  8  .  .  .  8  .  |  .  . 10  .  .  . 10  .  |  .  .  .  .  .  .  .  .  |
+ |  8  .  .  .  .  .  .  .  |  8  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  . 11  .  .  . 11  .  |
+ |  .  .  .  .  6  .  .  .  |  .  .  .  .  6  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  9  .  .  .  9  .  .  .  | 11  .  .  . 11  .  .  .  |
-  y         VIv7          . 13 13 12 10  .
+     3    12  4  3  44    3    24    31  4  2       23  1  4    23  4  1 42     3 22  1   324    121 3
+ |  .  .  .  .  .  .  .  .  |  .  . 11  .  7  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
+ |  9  .  .  .  7  9  .  .  |  .  .  .  .  .  9  .  .  |  .  2  .  .  .  9  .  .  |  .  .  .  .  .  .  6  .  |
+ |  .  .  .  .  .  .  .  9----10  .  .  .  .  .  .  .  |  4  .  .  .  7  .  .  9  |  .  7  .  .  9  .  .  9  |
+ |  .  .  .  .  .  .  .  9----10  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  7  |  .  7  .  .  7  .  7  .  |
+ |  .  .  8  .  .  .  8  .  |  .  .  8  .  .  .  8  .  |  .  .  5  .  .  .  5  .  |  .  .  .  .  .  .  .  .  |
+ |  8  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  8  .  .  .  .  .  6  .  |
+ |  .  .  .  .  6  .  .  .  |  9  .  .  .  9  .  .  .  |  4  .  .  .  6  .  .  .  |  .  .  6  .  9  .  .  .  |
+ |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |  .  .  .  .  .  .  .  .  |
+ </tt>
+I used a vVI chord instead of plain VI mostly to make it more playable.
+The last chord of the 3rd quarter of the song is the most "away" chord, so it seemed natural to put a subharmonic chord there. The extra dissonance gives the song a little boost. Since I didn't want the tonic to shift, the only other alternatives were ^IIv7 and IIv,7. The only tricky part was how to tune the chord's 6th. Ideally it would be a M7 to match the chord's 3rd, but for playability and to avoid a pitch shift I used a vM7. It makes a wolf 11th with the bass note (21/8 vs. 8/3) and even worse a wolf 6th with the root (27/16 vs 12/7). So perhaps bend it up a bit?
+=== The Pink Panther Theme (Henri Mancini) ===
+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
+<tt>
+ intro  E^m   /   /   /   |   /   /   /   /
+        E^m   /   /   /   |   /   /   /   /
-  home      IIv7          .  . 15 15 14 12
+        E^m   /   /   /   |   /   /   /   /
+        ^Cv7  /   /   /   |   /   /   /   /
+        E^m   /   /   /   |   /   /   /   /
+        ^Fv7  /   /   /   |   /   /   /   /
-  far a-    Vv7          16  .  . 13 17 16      fingering: 2 . . 1 4 3
+        E^m   /   /   /   |   /   /   /   /
+        ^Cv7  /   /   /   |   /   /   /   /
-  way       ^bVIv7       18  .  . 15 19 18          "
+ break  E^m   .   .   .   |  ^Cv7 .   Bv7 .
+        E^m   /   /   /   |  ^Cv7 /   /   /
-  far a-    bVIIv,9      21  . 20  . 19  .      alternate (2,19) with (2,22)
+        E^m   /   /   /   |   /   .   E^mvM7,9
+</tt>
-  way       Iv            . 18  . 17 19 19
+Lead into the chords with a fretwise bass melody:
+<tt>
+ ^D vD# ^D# | E...    D vvD Db | ^C...   ^D vD# ^D# | E...  ^D# E ^^E | ^F...
+</tt>
+But leading into the E^m just before the break, walk up with the entire chord: ^D^m vD#^m ^D#^m E^m
+<tt>
+ and   xx2113
+ four  xx3224
+ and   xx4335
+  one   xx5446
+</tt>
+The final chord can be simplified to 18 17 17 17 x x or even x x 31 31 31 x.
+Melody, E' means high E:
+<tt>
+ ^D# | E         .     vG ^G         .     ^D# |
+     | E     vG ^G     vC  B      E ^G     vvB |
+     | Bb----------------------A ^G  E ^D  E---|
+     | .         .         .         .     ^D# |
+     | E         .     vG ^G         .     ^D# |
+     | E     vG ^G     vC  B     ^G  B     vvE |
+     | Eb--------------------------------------|
+     | ---------------------         .     ^D# |
+     | E         .     vG ^G         .     ^D# |
+     | E     vG ^G     vC  B      E ^G     vvB |
+     | Bb----------------------A ^G  E ^D  E---|
+     | .         .         .         .         |
+     | .         E'    ^D  B      A ^G     E   |
+     |^^A A    ^^A A     ^^A A     ^^A A       |
+      | ^G  E ^D  E      E----        .         |
+     | ^G  E ^D  E      E----        .         |
+     | ^G  E ^D  E      E----------------------|
+     | ---------------------         .         |
+</tt>
+Bass line, scale runs E up to Eb, E' means high E, ^F' means high ^F, and ^G' means high ^G.
+  E chord:  |  E'    E    ^G    B ^D | -     -     -     -  |
+  ^C chord:  | ^C    ^G    Bb   ^D  E'| -     -     -     -  |
+  E chord:  |  E'    E    ^G    B ^D | -     -     -     -  |
+ ^F chord:  | ^F'    Eb   ^C    A ^F | -     -     -     -  |
+  E chord:  |  E'    E    ^G    B ^D | -     -     -     -  |
+ ^C chord:  | ^C    ^G    Bb   ^D  E'| -     -     -     -  |
+    break:  |  E    .     .     .    | ^C    .     B     .  |
+            |  E    ^G  B -     -    | ^C    E' ^G'-     -  |
+            |  E'    E    ^G    B ^D | -     -     -     -  |
 </tt>
+The bass line can optionally lead into the chords fretwise along with the rhythm guitar, especially just before the break.
+== Barbershop tags ==
+These are mostly translations of traditional arrangements, as opposed to re-arrangements. Thus the individual parts are changed only by adding in ups and downs.
+Barbershop often uses very close voicings of a major 2nd. When this 2nd translates to a vM2 or an ^M2, both notes occur on the same string. The tab resolves the issue by using an open string, or using [[wikipedia:Tapping|tapping]]. Even if a note-for-note guitar performance of the tag is awkward, the tabs are still valuable for conveying to the singers subtle microtonal nuances.
+See also Aaron Wolf's [[Kite Guitar translations by Aaron Wolf#My%20old%20Kentucky%20Home%20.28barbershop%20tag.29|My old Kentucky Home]] translation.
+=== Please Don't Sell My Daddy No More Wine (Tom Lane) ===
+A rather conventional country song from 1964 that is the basis for a very popular barbershop tag. The tag is full of dom7 chords tuned 4:5:6:7. Very natural to play on the Kite guitar and very easy to translate, except that one of the chords has a hi37 voicing that requires 7 strings.
+Sources:
+https://www.barbershoptags.com/tag-26-No-More-Wine (barbershop tag, "sell" became "give")
+https://www.youtube.com/watch?v=dPJObkkA4Xs (The Greenwoods ,1966)
+https://www.youtube.com/watch?v=brzqk9Zksuo (Wanda Jackson 1969)
+The I and VI7 chords have two common tones, the 3rd and 5th of the scale. The interval between these two notes depends on the chord. The I chord tunes them an upminor 3rd apart and the VI chord tunes them a downminor 3rd apart. Thus one or both notes must shift. Fortunately none of the singers holds either common tone across both chords. In fact each common tone appears not only in a different voice but also in a different octave, helping to mask any shifts. Still, if only one note shifts, it would be by a full fret, quite noticeable even if in a different octave. Instead I chose to have the 3rd shift up by a half-fret and the 5th shift down by a half-fret.
+This type of chord progression is very common in barbershop, and this way of resolving the comma issues is usually the best way. Not only does it avoid a full fret pitch shift, it's also the only way to get three perfect root movements in the VI7-II7-V7-I series of 4thward cadences. (As opposed to say Iv - vVIv7 - IIv7 - Vv7 - Iv, in which the vVI to II root movement is an offperfect 4th or 5th.)
+The tenor's P1 is everyone else's P8. The tag can be played note-for-note on the guitar, except that the 2nd to last bass note is on the same string as the baritone's note. The tablature solves this problem with a tapped note on the 19th fret. Or one could have the baritone's note disappear briefly and play xx686xx. The passing IIm7 chord for "He's" is unfortunately a bit awkward to play rapidly. This "He's" swipe, along with the bass's "All" flourish and the baritone's "Mine" flourish, can be omitted if the guitar is accompanying a barbershop quartet.
+The guitar key is vBb if in high-7 tuning and Gb if in low-7 tuning. The VI7 chord's hi35 voicing that requires 7 strings happens to be a 2:3:5:7 voicing. This is a nearly [[Odd limit|all-odd-numbers]] voicing, and thus one of the most consonant voicings possible. When played with an open string, it's quite natural for 2x1x3x0 to become 2x133x0.
+{| 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]]
+|-
+!Bass
+!Bari
+!Lead
+!Tenor
+!Bs
+!Br
+!Ld
+!Tn
+![[KDF Fret Numbering|KDF frets]]
+!frets
+|-
+|Please Don't Give My
+|P1
+|P8
+|P5
+|vM3
+|Da
+|↑Da
+|Sa
+|Mo
+|,3 - ,2 ,,0 ,,0 - -
+|7 - 6 8 8 - -
+|Iv
+|hi3add8
+|-
+|Daddy No More
+|P4
+|"
+|vM6
+|vm3
+|Fa
+|"
+|Lo
+|No
+| - ,,1 ,,1 ,,0 ,2 -
+| - 9 9 8 6 - -
+|IVv7
+|close
+|-
+|Wine, No More
+|P1
+|"
+|P5
+|vM3
+|Da
+|"
+|Sa
+|Mo
+|,3 - ,2 ,,0 ,,0 - -
+|7 - 6 8 8 - -
+|Iv
+|hi3add8
+|-
+|Wine
+|low M6
+|vA8
+|M3
+|v5
+|↓La
+|↑Fra
+|Ma
+|So
+|2 - 1 - 3 - 0
+|2 - 1 - 3 - 0
+|VIv7
+|hi37
+|-
+|He May Be No
+|M2
+|v8
+|M6
+|vA4
+|Ra
+|↑Do
+|La
+|Po
+| - ,0 - 3 1 ,1 -
+| - 4 - 3 1 5 -
+|IIv7
+|hi3
+|-
+|Good, But
+|P5
+|M9
+|vM7
+|v4
+|Sa
+|↑Ra
+|To
+|Fo
+| - - ,2 ,2 ,1 3 -
+| - - 6 6 5 3 -
+|Vv7
+|close
+|-
+|He's
+|M2
+|v8
+|M6
+|"
+|Ra
+|↑Do
+|La
+|"
+| - ,0 - 3 1 3 -
+| - 4 - 3 1 3 -
+|IIvm7
+|hi3
+|-
+|All
+|P5
+|M9
+|vM7
+|"
+|Sa
+|↑Ra
+|To
+|"
+| - - ,2 ,2 ,1 3 -
+| - - 6 6 5 3 -
+|Vv7
+|close
+|-
+|Mine
+|P1
+|P5
+| rowspan="6" |P8
+|vM3
+|Da
+|Sa
+| rowspan="6" |Da
+|Mo
+|,3 - ,2 ,,0 ,,0 - -
+|7 - 6 8 8 - -
+|Iv
+|hi3add8
+|-
+| rowspan="3" |All
+|P4
+| rowspan="3" |vM6
+| rowspan="3" |vm3
+|Fa
+| rowspan="3" |Lo
+| rowspan="3" |No
+| - ,,1 ,,1 ,,0 ,2 - -
+| - 9 9 8 6 - -
+|IVv7
+|close
+|-
+|P5
+|Sa
+|⸰3 - ,,1 ,,0 ,2 - -
+|19 - 9 8 6 - -
+|IVv9noR
+|lo9
+|-
+|P4
+|Fa
+| - ,,1 ,,1 ,,0 ,2 -
+| - 9 9 8 6 - -
+|IVv7
+|close
+|-
+| rowspan="2" |Mine
+| rowspan="2" |P1
+|"
+| rowspan="2" |vM3
+| rowspan="2" |Da
+|"
+| rowspan="2" |Mo
+|,3 - ,,1 ,,0 ,,0 - -
+|7 - 9 8 8 - -
+|Iv6no5
+|hi3add8
+|-
+|P5
+|Sa
+|,3 - ,2 ,,0 ,,0 - -
+|7 - 6 8 8 - -
+|Iv
+|hi3add8
+|}
+A more JI-oriented version using [[color notation]]:
+{| class="wikitable"
+|+
+! rowspan="2" |Lyrics
+! colspan="8" |vocal parts
+! colspan="4" |[[41edo solfege]]
+! colspan="3" rowspan="2" |chords and
+their [[Hi-lo notation|voicings]]
+|-
+! colspan="2" |Bass
+! colspan="2" |Bari
+! colspan="2" |Lead
+! colspan="2" |Tenor
+!Bs
+!Br
+!Ld
+!Tn
+|-
+|Please Don't Give My
+|P1
+|w1
+|P8
+|w8
+|P5
+|w5
+|vM3
+|y3
+|Da
+|↑Da
+|Sa
+|Mo
+|Iv
+|Iy
+|hi3add8
+|-
+|Daddy No More
+|P4
+|w4
+|"
+|"
+|vM6
+|y6
+|vm3
+|z3
+|Fa
+|"
+|Lo
+|No
+|IVv7
+|IVh7
+|close
+|-
+|Wine, No More
+|P1
+|w1
+|"
+|"
+|P5
+|w5
+|vM3
+|y3
+|Da
+|"
+|Sa
+|Mo
+|Iv
+|Iy
+|hi3add8
+|-
+|Wine
+|↓M6
+|↓w6
+|vA8
+|y8
+|M3
+|Lw3
+|v5
+|z5
+|↓La
+|↑Fra
+|Ma
+|So
+|VIv7
+|VIh7
+|hi37
+|-
+|He May Be No
+|M2
+|w2
+|v8
+|z8
+|M6
+|w6
+|vA4
+|y4
+|Ra
+|↑Do
+|La
+|Po
+|IIv7
+|IIh7
+|hi3
+|-
+|Good, But
+|P5
+|w5
+|M9
+|w9
+|vM7
+|y7
+|v4
+|z4
+|Sa
+|↑Ra
+|To
+|Fo
+|Vv7
+|Vh7
+|close
+|-
+|He's
+|M2
+|w2
+|v8
+|z8
+|M6
+|w6
+|"
+|"
+|Ra
+|↑Do
+|La
+|"
+|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
+|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
+|}
+=== When It's Sleepy Time Down South ===
+Source: https://www.barbershoptags.com/tag-4-Sleepytime-Down-South
+The bass and baritone's P8 is the lead and tenor's P1. The "-py" chord has a close vM2 in it, and thus a tapped note. Alternatively, the baritone note could disappear momentarily, making - - 11 13 13 -.
+{| class="wikitable"
+! rowspan="2" |Lyrics
+! colspan="4" |vocal parts
+! colspan="4" |[[41edo solfege|solfege]]
+! colspan="2" |6- 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
+|-
+|When
+|P8
+|P8
+|P1
+|P1
+|↑Da
+|↑Da
+|Da
+|Da
+| - - - ,,,1 - -
+|  - - - 13 - -
+|I5no5
+|close
+| colspan="2" rowspan="3" |
+|-
+|It's
+|vM7
+|vM7
+|M2
+|M2
+|To
+|To
+|Ra
+|Ra
+| - - - ,,3 ,,2 -
+| - - - 11 10 -
+|VvnoR
+|close
+|-
+|Slee-
+|vM6
+|vM6
+|P1
+|vM3
+|Lo
+|Lo
+|Da
+|Mo
+| - - ,,,2 ,,,1 ,,,1 -
+| - - 14 13 13 -
+|vVI^m
+|close
+|-
+| -py
+|P5
+|"
+|"
+|"
+|Sa
+|"
+|"
+|"
+|⸰⸰⸰0 - ,,,2 ,,,1 ,,,1 -
+|24 - 14 13 13 -
+|vVI^m7
+|lo7
+|Iv6
+|lo56
+|-
+| rowspan="2" |Time
+| rowspan="2" |A4
+| rowspan="2" |"
+| rowspan="2" |"
+|"
+| rowspan="2" |Pa
+| rowspan="2" |"
+| rowspan="2" |"
+|"
+| - ⸰0 ,,,2 ,,,1 ,,,1 -
+| - 16 14 13 13 -
+|#IVvdv7
+|close
+|vII^9noR
+|close
+|-
+|vM2
+|Ro
+| - ⸰0 ,,,2 ⸰0 - 0
+| - 16 14 16 - 0
+|vII^7
+|hiR
+| colspan="2" rowspan="2" |
+|-
+| rowspan="2" |Down
+| rowspan="2" |P4
+|"
+| rowspan="2" |"
+|vm3
+| rowspan="2" |Fa
+|"
+| rowspan="2" |"
+|No
+| - ,,,2 ,,,2 ,,,1 ,,3 -
+| - 14 14 13 11 -
+|IVv7
+|close
+|-
+|vm6
+|vM2
+|Flo
+|Ro
+| - ,,,2 ,,,0 ⸰0 - 0
+| - 14 12 16 - 0
+|vII^d^7
+|hiR
+|bVIIv9noR
+|hi3
+|-
+|South
+|P1
+|P5
+|"
+|vM3
+|Da
+|Sa
+|"
+|Mo
+|,,,0 - ,,3 ,,,1 ,,,1 -
+|12 - 11 13 13 -
+|Iv
+|hi3add8
+| colspan="2" |
+|}
+Barbershop generally uses mostly harmonic and stacked chords, and rarely uses subharmonic chords. But the first "time" chord is subharmonic, voiced 7:6:5:4. It works here because the voicing makes all the intervals be 5-over or 7-over, and none are 5-under or 7-under. in fact, the harmonic alternative to vdv7 aka ^9noR would be ^d^7 aka v9noR, voiced 5:6:7:9. Comparing the 6 intervals in each tetrad, both have 3/2, 6/5, 7/6 and 7/5. The subharmonic chord has 5/4 and 7/4, and the harmonic chord has 9/7 and 9/5. So i<u>n this voicing</u>, the subharmonic chord is in theory actually smoother!
+What about other voicings? In a lo3 voicing, 12:7:5:4 has larger ratios than 3:5:7:9, and thus is inferior to it. But in a hi3 voicing, 7:5:4:3 is far superior to 5:7:9:12. The math works like this: in 5:6:7:9, to raise a note up an octave, double its number. To lower it, if it's even, halve it. If not, double all the other numbers. Then put the numbers back in ascending order. Thus the hiR voicing is 5:6:7:9 --> 10:6:7:9 --> 6:7:9:10. But in 7:6:5:4, it's the opposite: lower a note by doubling it, and raise a note by halving it (or doubling the others). To find the ratios, just pair off the 4 numbers into 6 pairs and factor out common factors. The smaller the ratios, the sweeter the chord. One can use this math to choose how to tune the chord, as we are doing here, or one can use it to arrange the tag for maximum vertical consonance, which generally requires an [[Odd limit|all-odd or nearly all-odd voicing]].
+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.
+I chose to use the subharmonic chord for melodic simplicity. It allows the baritone, lead and tenor to be rock-steady during their posts. The harmonic dissonance can be lessened by not holding the chord as long. Aaron Wolf has proposed using the more consonant harmonic chord, with vII^7 becoming ^IIv7. He has the baritone move upwards by a full fret from the previous chord, from vM6 to ^M6. However it makes a less coherent scale, as the scale degrees are no longer plain or downward, but now also upward. Thus the tag gains vertical consonance but loses horizontal consonance. Since barbershop seems to prioritize the former over the latter, barbershoppers might prefer his version. Changes are '''bolded'''.
+{| class="wikitable"
+! rowspan="2" |Lyrics
+! colspan="4" |vocal parts
+! colspan="4" |[[41edo solfege|solfege]]
+! colspan="2" |6- 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
+|-
+|When
+|P8
+|P8
+|P1
+|P1
+|↑Da
+|↑Da
+|Da
+|Da
+| - - - ,,,1 - -
+| - - - 13 - -
+|I5no5
+|close
+| colspan="2" rowspan="3" |
+|-
+|It's
+|vM7
+|vM7
+|M2
+|M2
+|To
+|To
+|Ra
+|Ra
+| - - - ,,3 ,,2 -
+| - - - 11 10 -
+|VvnoR
+|close
+|-
+|Slee-
+|vM6
+|vM6
+|P1
+|vM3
+|Lo
+|Lo
+|Da
+|Mo
+| - - ,,,2 ,,,1 ,,,1 -
+| - - 14 13 13 -
+|vVI^m
+|close
+|-
+| -py
+|P5
+|"
+|"
+|"
+|Sa
+|"
+|"
+|"
+|⸰⸰⸰0 - ,,,2 ,,,1 ,,,1 -
+|24 - 14 13 13 -
+|vVI^m7
+|lo7
+|Iv6
+|lo56
+|-
+| rowspan="2" |Time
+| rowspan="2" |A4
+|"
+| rowspan="2" |"
+|"
+| rowspan="2" |Pa
+|"
+| rowspan="2" |"
+|"
+| - ⸰0 ,,,2 ,,,1 ,,,1 -
+| - 16 14 13 13 -
+|#IVvdv7
+|close
+|vII^9noR
+|close
+|-
+|'''^M6'''
+|'''^M2'''
+|'''Lu'''
+|'''Ru'''
+| - ⸰0 ''',,,3 ⸰1''' - 0
+| - 16 '''15''' '''17''' - 0
+|'''^IIv7'''
+|hiR
+| 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
+|"
+|vM3
+|Da
+|Sa
+|"
+|Mo
+|,,,0 - ,,3 ,,,1 ,,,1 -
+|12 - 11 13 13 -
+|Iv
+|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
+|P8
+|vm3
+|vM6
+|Fa
+|↑Da
+|No
+|Lo
+| - ,1 - ,0 2 ,2 -
+|  - 5 - 4 2 6 -
+|IVv7
+|hi3
+| colspan="2" rowspan="4" |
+|-
+|Down
+|A4
+|M7
+|vA2
+|vM6
+|Pa
+|Ta
+|Na
+|Lo
+| - ,3 ,,1 ,,1 - ,2 -
+|  - 7 9 9 - 6 -
+|VIIv7
+|lo5
+|-
+| rowspan="11" |South
+|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
+|-
+|vm7
+|Tho
+| - - - 0 ,0 3 ,1
+|  - - - 0 4 3 5
+|Iv7
+|hiRlo7
+|-
+|vM6
+|vM9
+|P4
+|Lo
+|↑Ro
+|Fa
+| - - ,1 ,3 ,2 - ,1
+|  - - 5 7 6 - 5
+|vII^m7
+|lo5
+|IVv6
+|lo36
+|-
+|^m6
+|^m10
+|d5
+|Flu
+|↑Nu
+|Sha
+| - - ,0 - 3 1 ,1
+|  - - 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
+|hiRaddlo5
+|-
+|P4
+|vM9
+|vM6
+|Fa
+|↑Ro
+|Lo
+| - ,1 - ,3 - ,2 ,1
+|  - 5 - 7 - 6 5
+|vII^m7
+|lo3
+|IVv6
+|hi35
+|-
+|vM3
+|P8
+| rowspan="2" |P5
+|Mo
+|↑Da
+| rowspan="2" |Sa
+| - 3 - ,0 - 3 ,1
+|  - 3 - 4 - 3 5
+|Iv
+|lo3add8
+| colspan="2" |
+|-
+|^m3
+|^m7
+|Nu
+|Thu
+| - 2 - 1 - 3 ,1
+| - 2 - 1 - 3 5
+|^bIIIv6
+|hi36
+|(I^m7)
+|(hiRlo37)
+|-
+|^M2
+|^M6
+|A4
+|Ru
+|Lu
+|Pa
+|,3 - ,2 - ,,0 - ,1
+|7 - 6 - 8 - 5
+|^IIv7
+|hi37
+| colspan="2" rowspan="3" |
+|-
+|^m2
+|^m6
+|P4
+|Fru
+|Flu
+|Fa
+|,1 - ,0 - ,2 - ,1
+|5 - 4 - 6 - 5
+|^bIIvM7
+|hi37
+|-
+|P1
+|P5
+|vM3
+|Da
+|Sa
+|Mo
+|3 - 2 - ,0 - ,1
+|3 - 2 - 4 - 5
+|Iv
+|hi3addhi8
+|}
+=== 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
+!Bari
+!Lead
+!Tenor
+!Bs
+!Br
+!Ld
+!Tn
+![[KDF Fret Numbering|KDF frets]]
+!frets
+|-
+|A
+|P5
+| -------
+| ------
+| ------
+|Sa
+| -----
+| ----
+| ----
+| - ,3 - - - - - -
+| - 7 - - - - - -
+| ------
+| ------
+| colspan="2" rowspan="3" |
+|-
+|Smile
+|P8
+| rowspan="5" |vM3
+^m3
+| rowspan="5" |P5
+^m6
+| rowspan="8" |P8
+|↑Da
+| rowspan="5" |Mo
+Nu
+| rowspan="5" |Sa
+Flu
+| rowspan="8" |↑Da
+| - - ,,1 ,,1 ,,0 ,,2 - -
+| - - 9 9 8 10 - -
+|Iv
+|add8
+|-
+|Is
+|vM7
+|To
+| - - ,3 ,,1 ,,0 ,,2 - -
+| - - 7 9 8 10 - -
+|IvM7
+|hiRlo7
+|-
+|Still
+|vM6
+|Lo
+| - ,,2 - ,,1 ,,0 ,,2 - -
+| - 10 - 9 8 10 - -
+|Iv6
+|hiRlo6
+|vVI^m7
+|hi3
+|-
+|Worth-
+|P5
+|Sa
+| - ,3 - ,,1 ,,0 ,,2 - -
+| - 7 - 9 8 10 - -
+|Iv
+|hiRaddlo5
+| colspan="2" rowspan="2" |
+|-
+|while
+|^m6
+|Flu
+| - ,,1 - ,,0 ,,2 ,,2 - -
+| - 9 - 8 10 10 - -
+|^bVIv
+|hi3add8
+|-
+|Darn
+|P4
+|vM2
+|vm6
+|Fa
+|Ro
+|Flo
+|,,2 - ,,,0 - ,,1 ,,2 - -
+|10 - 12 - 9 10 - -
+|IVvm6
+|hi35
+|bVIIv9noR
+|lo5
+|-
+|Ya
+|P11
+|vM9
+|"
+|↑Fa
+|↑Ro
+|"
+| - - - ,,3 ,,1 ,,2 - 0
+| - - - 11 9 10 - 0
+|"
+|close
+|"
+|hi3
+|-
+|Smile
+|P8
+|vM10
+|P5
+|↑Da
+|↑Mo
+|Sa
+| - - ,,1 - ,,0 ,,2 ,,2 -
+| - - 9 - 8 10 10 -
+|Iv
+|hi3add8
+| 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'''.
+{| 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
+!Bari
+!Lead
+!Tenor
+!Bs
+!Br
+!Ld
+!Tn
+![[KDF Fret Numbering|KDF frets]]
+!frets
+|-
+|A
+|P5
+| -------
+| ------
+| ------
+|Sa
+| -----
+| ----
+| ----
+| - ,2 - - - - - -
+| - 6 - - - - - -
+| ------
+| ------
+| colspan="2" rowspan="3" |
+|-
+|Smile
+|P8
+| rowspan="5" |vM3
+^m3
+| rowspan="5" |P5
+^m6
+| rowspan="8" |P8
+|↑Da
+| rowspan="5" |Mo
+Nu
+| rowspan="5" |Sa
+Flu
+| rowspan="8" |↑Da
+| - - ,,0 ,,0 ,3 ,,1 - -
+| - - 8 8 7 9 - -
+|Iv
+|add8
+|-
+|Is
+|vM7
+|To
+| - - ,2 ,,0 ,3 ,,1 - -
+| - - 6 8 7 9 - -
+|IvM7
+|hiRlo7
+|-
+|Still
+|vM6
+|Lo
+| - ,,1 - ,,0 ,3 ,,1 - -
+| - 9 - 8 7 9 - -
+|Iv6
+|hiRlo6
+|vVI^m7
+|hi3
+|-
+|Worth-
+|P5
+|Sa
+| - ,2 - ,,0 ,3 ,,1 - -
+| - 6 - 8 7 9 - -
+|Iv
+|hiRaddlo5
+| colspan="2" rowspan="2" |
+|-
+|while
+|^m6
+|Flu
+| - ,,0 - ,3 ,,1 ,,1 - -
+| - 8 - 7 9 9 - -
+|^bVIv
+|hi3add8
+|-
+|Darn
+|P4
+|'''^M2'''
+|'''^m6'''
+|Fa
+|'''Ru'''
+|'''Flu'''
+|,,1 - ,,,0 - ,,1 ,,1 - -
+|9 - 12 - 9 9 - -
+|'''IV^m6'''
+|hi35
+|'''bVII^9noR'''
+|lo5
+|-
+|Ya
+|P11
+|'''^M9'''
+|'''"'''
+|↑Fa
+|'''↑Ru'''
+|'''"'''
+| - - - ,,2 ,,1 ,,1 - 0
+| - - - 10 9 9 - 0
+|'''"'''
+|close
+|'''"'''
+|hi3
+|-
+|Smile
+|P8
+|vM10
+|P5
+|↑Da
+|↑Mo
+|Sa
+| - - ,,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
+|P5
+|vM3
+|Da
+|Sa
+|Mo
+|Iv
+|hi3add8
+|Iy
+| colspan="3" |
+|}
+== World Music, Microtonal Music, etc. ==
 === Kusuva Musha (traditional mbira) ===
-Kite's arrangement of a traditional mbira dzavadzimu song. Simple 5-limit harmonies, except for the 10/7 in the vB chord. But tricky circular rhythms with lots of 3-against-4. The harmonies are circular too. The key is simultaneously C downmajor down-2 and F downlydian down-4. (As with chords, the "down" before the mode name lowers the 3rd, 6th and 7th, but not the tonic, 2nd, 4th or 5th.) The guitar part is a 3-voice canon, with the 3 voices separated by diatonic 3rds. The highest voice is on the beat, as is the bass.
+My arrangement of a traditional mbira dzavadzimu song. Simple 5-limit harmonies, except for the 10/7 in the vB chord. But tricky circular rhythms with lots of 3-against-4. The harmonies are circular too. The key is simultaneously C downmajor down-2 and F downlydian down-4. (As with chords, the "down" before the mode name lowers the 3rd, 6th and 7th, but not the tonic, 2nd, 4th or 5th.) The guitar part is a 3-voice canon, with the 3 voices separated by diatonic 3rds. The highest voice is on the beat, as is the bass.
 https://soundcloud.com/mbirakite/kusuva-musha-canon-guitar-version
@@ Line 1,106: / Line 4,218: @@
                                                                                /
 </tt>
 Tablature in E (or A) for 6-string guitar, combining both parts:
@@ Line 1,158: / Line 4,269: @@
-=== I Hear Numbers (Tall Kite, microtonal) ===
+=== Mizarian Porcupine Overture (Herman Miller, microtonal) ===
+Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. If a comma maps to 1 edostep ([[81/80|Gu]], [[250/243|Triyo]], [[64/63|Ru]], [[49/48|Zozo]], etc), and a 1-edostep pitch shift on guitar is small enough not to offend the ear, 41edo can acceptably approximate that comma's temperament.
-Based on the keyboard part, not the electric guitar part.
-Full song: http://tallkite.com/music/IHearNumbers.mp3
-Keyboard part with a guitar sound: http://tallkite.com/music/IHearNumbersKeyboardOnGuitar.mp3
-Liner notes: http://tallkite.com/music/IHearNumbers.html
-Chords:
-<tt>
- intro:      Vv7        vIII^m7(b5)  Vv7         vIII^m7(b5)
-             Vv7        vIII^m7(b5)  Vv7            /
- solos:      Iv7        vbIII^m6     IVv7           /
-             Iv7        vbIII^m6     IVv7           /
-             bVIIv7     bVIIv7no1    vbIII^m6       /
-             vbVI^      vbVI^7       Vv7            /
- verse 1:    Iv7        vbVII^m6     Iv7         vbVII^m6
-             Iv7        vbVII^m6     Iv7         vbVII^m6
-             Iv7        vbVII^m6     Iv7         vbVII^m6
-             Iv7        vbVII^m6     Iv7            /
- chorus:     vVI^m7        /         vVII^m6(b5)    /
-              /            /         vVI^m7         /
-              /            /         vVII^m6(b5)    /
-             vVI^7      vVI^m6(b5)   Vv7            /
- breakdown:  Iv7        vbVII^m6     bVv7        [vbbVII=^#V]^m6
-             ^#IIv7     #IV^m6       ^VIv7        Vv7
- verse 2:    Iv7        vbVII^m6     Iv7         vbVII^m6
-             Iv7        vbVII^m6     Iv7         IIv7
- bridge:     Vv7        Vvm7(b5)     IIv7           /
-              /         IIvm7(b5)    Vv7         VIvm7
-             IIIv7      IIIvm7(b5)   VIv7,b9     VIv6
-              /         VIvm7(b5)    IIv7        Vv7
- coda:       Iv7           /         vbVII^m7       /
-             vbIII^7       /         Vv7            /
-</tt>
-Guitar tab in ^C for a 6-string guitar. ^C is 5th string, 1st dot plus 1 fret, written as (5,1,1). Some chords had to be simplified, 8 strings are really needed for this song.
-In the chorus, use the passing chords to get this bass line:<br>
-(5,5,0) (6,4,2) (5,5,0) (5,4,1) <br>
-(4,4,1) (5,3,1) (4,4,1) (5,4,3) etc.
-The bridge has this bass line: <br>
-(5,4,1) (6,3,3) (5,4,1) (5,3,1) <br>
-(6,3,3) (4,3,2) (6,3,3) (5,3,3) <br>
-(6,3,3) (4,3,2) (6,3,3) (5,3,1) <br>
-(5,4,1) (6,3,3) (4,3,2) (4,3,2) <br>
-(5,3,0) (6,2,2) (5,3,0) (5,2,0)  etc.
-<tt>
- intro chords:   Vv7             .  17  17  16  14   .
-                 vIII^m7(b5)    18   .  15  16  18   .        (2nd time play 18  17  15  16)
-                 walkdown      (5,17) (5,13) (6,16) (6,15)
- solo chords:    Iv7             .   5   .   4   2   6
-                 vbIII^m6        .   5   3   2   2  (4)
-                 IVv7            .   .   7   7   6   4
-                 bVIIv7          8   .   7   5   9   .
-                 bVIIv7no1       .   8   7   5   9   .
-                 vbIII^m6no5     .   .   3   2   6   4        (fingering: 2 1 4 3)
-                 vbVI^           4   .   3   5   6   .        (fingering: 2 1 3 4)
-                 vbVI^9          .  18  19  17  16  16
-                 Vv7             .  17  17  16  14   .
- verse chords:   Iv7             3   5   5   .   2   .        (fingering: 2 3 4 1)
-                 vbVII^m6        3   1   0   0   .   .        (fingering: 2 1)
-                 vbVII^m6        3   1   0   0   2   1        (fingering: 4 1 3 2) (advanced version)
- chorus chords:  vVI^m7         18  20  19   .  18   .        (see comments above for the bass line)
-                (passing chord)  .  17  19   .  18   .        (fingering: 1 3 2)
-                 vVII^m6(b5)     .  13  17  16  20   .
-                (passing chord)  .  19   .  16  20   .        (fingering: 3 2 4)
-                 vVI^9           .  20  21  19  18  18
-                 vVI^m6(b5)      .  20  19   *   .   .        (* riff between 17 and 23)
-                 Vv7             .  17  17  16  14   .
- breakdown:      Iv7             .  17   *  19   .   .        (* riff between 15 and 19)
-                 vbVII^m6        .  17  15  14  14   .
-                 bVv7            .  15  15  14  12   .
-                 ^#V^m6          .  15  13  12  12   .
-                 ^#IIv7          .  11  11  10   8   .
-                 #IV^m6          .  11   9   8   8   .
-                 ^VIv7           7   .   6   4   8   .
-                 Vv7             3   .   2   0   4   .
- bridge chords:  Vv7            15  17  17 (16) 14   .        (see comments above for the bass line)
-                 Vvm7(b5)        .  13  15  14  14   .        (lacks the root unfortunately)
-                 IIv7           15   .  14  12  16   .        (use this for the pickup chord as well)
-                 IIvm7(b5)       .  13  12  12  14   .        (lacks the root unfortunately)
-                 VIvm7           .   .  14  12  13  11
-                 IIIv7          10  12  12 (11)  9   .
-                 IIIvm7(b5)      .   8  10   9   9   .        (lacks the root unfortunately)
-                 VIv7,b9         .   .  14  14  13  11        (lacks the 9th unfortunately)
-                 VIv6            .   .  14  14  16  15        (lacks the 5th unfortunately)
-                 VIvm7(b5)       .   .  14  12  11  11
-                 Vv7             .  17  17  16  14   .
- coda chords:    Iv7             .   5   .   4   2   6
-                 vbVII^m7        .   1   0   0   2   1        (lacks the 7th unfortunately, I ran out of frets)
-                 vbIII^7         .   .   3   4   2   1
-                 Vv7             3   .   2   0   4  (3)
-</tt>
-=== Mizarian Porcupine Overture (Herman Miller, microtonal) ===
+The last 30 seconds of this piece is a famous example of a [[250/243|Triyo (Porcupine)]] comma pump. The comma is rapidly pumped three times.
-Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. The last 30 seconds of this piece is a famous example of a [[250/243|Triyo (Porcupine)]] comma pump. The comma is rapidly pumped three times.
 http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding.mp3 (1999 version)<br>
@@ Line 1,285: / Line 4,280: @@
     |                           |                         |
     |  ^IVv   ^IVv/3    VIv     |  IIv     V^m     Vv     |
+</tt>
-<br>
-<br>
-<br>
-<br>
-<br>
-</tt>
 The score below is written out for the (P8,P4/3) pergen, with an enharmonic of v<sup>3</sup>A1, and vvE equal to ^Eb. But in 41edo, vvE instead equals ^^Eb, and a pitch shift is inevitable. In this translation, the tied note in the 2nd measure (and the 6th measure) shifts downward a half-fret. But the 4th chord passes by so quickly, the shift is hardly noticeable.
@@ Line 1,334: / Line 4,323: @@
                                   v3                                      1
 </tt>
+=== Stupid F*cking White Man (Decolonize Your Mind Society, microtonal) ===
+https://decolonizeyourmind.bandcamp.com/releases
+https://soundcloud.com/decolonizeyourmind/stupid-fucking-white-man-live
+The original is in 7-limit JI. The 41edo version differs by only 3¢. No comma pumps. The opening riff in ^F downminor pentatonic for 7-string in low-7 tuning:
+<tt>
+ | - - - - 4 - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - 6 - - - - 6 | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - 5 - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - 7 - - - - 7 | - - - - 3 - - - | - - - - - - 7 - |
+ | - - - - - - - - | - - - - - - - - | - - 5 - - - - 5 | - - 5 - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - 4 - - - |
+ | 6 - - - 6 - - - | 6 - - - 6 - - - | 6 - - - 6 - - - | 6 - - - - - - - |
+</tt>
+This riff also lends itself to a 6-string DADGAD tuning with a half-fret offset.
+<tt>
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - 0 - 5 - - 0 | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
+ | - - - - - - - - | - - 0 - 5 - - 0 | - - - - - - - - | - - - - - - 0 - |
+ | - - - - - - - - | - - - - - - - - | - - 0 - 5 - - 0 | - - 0 - - - - - |
+ | 0 - - - 0 - - - | 0 - - - 0 - - - | 0 - - - 0 - - - | 0 - - - 5 - - - |
+</tt>
+=== Couples Therapy (Jacob Barton, microtonal) ===
+https://soundcloud.com/metaclown/couples-therapy
+This clever charming song is originally in 22edo. I  22edo, the bass line uses a descending Triyo/Porcupine 8-note scale of D ^C vB A ^G vF# ^F vE D. In edosteps that's 33333313. Every other note of the scale is the root of a downmajor chord, so the progression is Iv -- vVIv -- ^IVv -- vIIIv. Root movement is mostly by descending upminor 3rds, thus the 3rd of each chord becomes the 5th of the next chord.
+Preserving that pattern in 41edo means this scale translates to 41edo's D ^C vB A ^^G vF# ^F vE D = 65656256. This results in each 22edo note being mapped to the nearest 41edo note, except that 22edo's E is about 3¢ closer to 41edo's E than to 41edo's ^E. The 3rds of the VI and IV chords add 2 more notes to the scale. in 22edo they are ^D and B. Again, these translate to the nearest 41edo notes, ^^D and ^B.
+Translating to 41edo makes the 7L1s scale become 4L3M1s. But 3/2 and 6/5 become better tuned and 5/4 is only 2¢ worse. This is a general pattern when translating to 41edo from a lower edo. Melodies are more irregular, but harmonies improve.
+{| class="wikitable"
+|+
+! colspan="2" |chords
+!6-string tab
+|-
+|Iv
+|Dv
+| - 8 8 7 9 -
+|-
+|vVIv
+|vBv
+|9 - 8 10 10 -
+|-
+|~IVv
+|^^Gv
+| - 9 11 11 10 -
+|-
+|^bIIIv
+|^Fv
+|  - 5 7 7 6 -
+|}
+===22-edo Porcupine Pump (Mike Battaglia, microtonal)===
+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 -- 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-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.
+{| class="wikitable"
+!chords
+!8-string tab
+[[Hi-lo notation|hi37 voicing]]
+!6-string tab
+[[Hi-lo notation|lo5 voicing]]
+!6-string tab
+[[Hi-lo notation|hi3 voicing]]
+|-
+|IvM7
+| - 8 - 7 - 9 - 8
+| - 14 16 16 - 15
+| - 5 - 4 4 6
+|-
+|I^m7
+| - 8 - 7 - 8 - 7
+| - 14 16 15 - 14
+| - 5 - 4 3 5
+|-
+|^bVIIvM7
+| - 5 - 4 - 6 - 5
+| - 11 13 13 - 12
+| - 2 - 1 1 3
+|-
+|^bVII^m7
+| - 5 - 4 - 5 - 4
+| - 11 13 12 - 11
+| - 2 - 1 0 2
+|-
+|vVIvM7
+|9 - 8 - 10 - 9 -
+|15 17 17 - 16 -
+|6 - 5 5 7 -
+|-
+|vVI^m7
+|9 - 8 - 9 - 8 -
+|15 17 16 - 15 -
+|6 - 5 4 6 -
+|-
+|VvM7
+|6 - 5 - 7 - 6 -
+|12 14 14 - 13 -
+|3 - 2 2 4 -
+|-
+|Vv7
+|6 - 5 - 7 - 4 -
+|12 14 14 - 11 -
+|3 - 2 0 4 -
+|}
+[[Category:Kite Guitar]]

Kite Guitar translations by Kite Giedraitis: Difference between revisions