Kite Guitar translations by Kite Giedraitis: Difference between revisions

Line 1,021:

| - - - - - - - - | 1 - - - 3 - - - | 1 - - - - - - - | - - - - - - - - |

| 0 - - - 3 - - - | - - - - - - - - | - - - - 4 - - - | - - - - - - - - |

</tt>

=== Nowhere (Angela Mair) ===

Source: https://www.youtube.com/watch?v=5-49jLxcCJQ <br>

12edo score and tab available at https://bergmann-edition.com/products/angela-mair-nowhere

A recent composition (Feb 2023). Arranged for an 8-string Kite guitar with extra 3.5, 6.5 and 8.5 frets. In the tab, the extra frets are named d, g and i. The open strings are tuned vC# E A vC# E vG# B E.

Bars 5-7 are tricky. In 12edo, the chords are F#m, B and A. Here bar 5 has vF#^m, which suggests bar 6 should have vBv. But that harms the bass melody in bars 6 and 7, which in 12edo is D# to E. A vBv chord would make vvD# to E, a step of a mid 2nd, too wide.

Using a vB^ chord would make that step a minor 2nd, quite nice. But the chord's voicing precludes that. The lowest voice is the 3rd and the top voice is the root. An upmajor chord results in the interval between them being a vm13, only 59¢ away from a P12 = 3/1. Thus the 3rd harmonic of the lowest note clashes with the fundamental of the highest note rather strongly.

So instead bar 6 has a Bv chord, making an upminor 2nd step. Unfortunately this causes vF# in bar 5 to shift to F# in bar 6. To hide the pitch shift, I took the liberty of lowering the second note in bar 5 from vF# to vC#. (The first note needn't be altered because that vF# and bar 6's F# are in different octaves, and the pitch shift is much less noticeable.) I find lowering that 2nd note also fills out the harmony better. I made this same change in bar 13 even though there is no pitch shift to hide, for consistency.

In bar 14, the chords are vB^m and Ev. A pitch shift from vB to B is avoided because the Ev chord fortunately lacks a 5th.

In bar 19, I used a vC#v^7 chord, 0xxx100x. Another possibility is a vC#v,7 chord, 0xxgg5xx. I feel a v7 chord would not fit the genre.

In bar 28, I modified the rhythm of the top voice purely so that it would fit into the tab's grid of 16th notes. What I wrote as an 8th note followed by two 16th notes should actually be played as a dotted eighth note followed by two 32nd notes.

The tab shows the A and B parts. See the source video for the full arrangement and performance nuances. For example, slightly accenting the 2nd note in bar 15.

<tt>

A part

| - - - - - - - - | 0 - - - - - 0 - | 3 - - - 3 - 0 - | - - - - - - - - |

| - - - - - - 3 - | - - - - - - - - | - - - - - - - - | 3 - - - - - - - |

| 2 - - - 2 - - - | - - 0 - - - - - | - - 2 - - - - - | - - - - 2 - - - |

| - - 0 - - - - - | - - - - 0 - - - | - - - - - - - - | - - 0 - - - - - |

| - - - - - - - - | 0 - - - - - - - | 2 - - - - - - - | - - - - - - - - |

| 0 - - - - - - - | - - - - - - - - | - - - - - - - - | 0 - - - - - - - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - g - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - 3 - | 0 - - - - - 0 - | - - - - - - - - | - - - - - - 0 - |

| 2 - - - 2 - - - | - - - - - - - - | 2 - - - - - 2 - | 0 - - - 0 2 - - |

| - - - - - - - - | - - - - d - - - | - - - - 0 - - - | - - - - - - - - |

| - - 0 - - - - - | - - - - - - - - | - - 0 - - - - - | - - - - - - - - |

| - - - - - - - - | - - d - - - - - | - - - - - - - - | - - d - - - - - |

| 3 - - - - - - - | - - - - - - - - | 0 - - - - - - - | 0 - - - - - - - |

| - - - - - - - - | d - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - - - | 0 - - - - - 0 - | 3 - - - 3 - 0 - | - - - - - - - - |

| - - - - - 0 3 - | - - - - - - - - | - - - - - - - - | 3 - - - - - - - |

| 2 - - - 2 - - - | - - 0 - - - - - | - - 2 - - - - - | - - - - 2 - - - |

| - - 0 - - - - - | - - - - 0 - - - | - - - - - - - - | - - 0 - - - - - |

| - - - - - - - - | 0 - - - - - - - | 2 - - - - - - - | - - - - - - - - |

| 0 - - - - - - - | - - - - - - - - | - - - - - - - - | 0 - - - - - - - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - g - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - 3 - | 5 - 3 - - - - - | - - - - - - - - | - - - - - - - - |

| 2 - - - 2 - - - | - - - - 2 - 0 - | 2 - - - - - 2 - | - - - - - - - - |

| - - - - - - - - | 3 - - - - - - - | - - - - 0 - - - | - - - - - - - - |

| - - 0 - - - - - | - - - - 0 - - - | - - 2 - - - - - | 0 - - - - - - - |

| - - - - - - - - | 3 - - - - - - - | 0 - - - - - - - | - - - - - - - - |

| 3 - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - - - | - - - - 0 - - - | - - - - - - - - | - - - - - - - - |

B part

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - 3 - | 0 - - - - - - - | - - - - - - 0 - | - - - - - - - - |

| - - - - 2 - - - | - - 2 - 0 - - - | - - - - 0 - - - | 2 - 0 - - - - - |

| - - 3 - - - - - | - - - - - - 3 - | - - 1 - - - - - | - - - - 3 - 0 - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| 3 - - - - - - - | g - - - - - - - | - - - - - - - - | 3 - - - 0 - - - |

| - - - - - - - - | - - - - - - - - | 0 - - - - - - - | - - - - - - - - |

| - - - - - - - - | - - - - - - - - | - - - - 0 - - - | i - g - 3 - 0 - |

| - - - - - - 3 - | 0 - - - - - - - | 3 - - - - - - - | - - - - - - - - |

| - - - - 2 - - - | - - 2 - 0 - - - | - - - - - - - - | - - - - - - - - |

| - - 3 - - - - - | - - - - - - 0 - | - - 0 - - - 0 - | - - - - 0 - - - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - - - | - - - - - - - - | 0 - - - - - - - | - - - - - - - - |

| - - - - - - - - | 0 - - - - - - - | - - - - g - - - | 3 - - - - - - - |

| 2 - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - 3 - | 0 - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - 2 - - - | - - 2 - 0 - - - | - - - - - - 0 - | 0 - 2 0 - - - - |

| - - 3 - - - - - | - - - - - - 0 - | - - - - 0 - - - | 0 - - - 3 - - - |

| - - - - - - - - | - - - - - - - - | - - 0 - - - - - | - - - - 2 - - - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

| - - - - - - - - | 0 - - - - - - - | - - - - - - - - | - - - - - - - - |

| 2 - - - - - - - | - - - - - - - - | 0 - - - - - - - | 2 - - - - - - - |

| - - - - - - - - | - - - - - - - - |

| - - - - - - 5 - | 3 - 0 - - - - - |

| - - - - 5 - - - | - - - - 2 - 0 - |

| - - 3 - - - - - | 0 - - - - - - - |

| - - - - - - - - | - - - - - - - - |

| 3 - - - - - - - | - - - - - - - - |

| - - - - - - - - | 0 - - - - - - - |

| - - - - - - - - | - - - - - - - - |

</tt>

@@ Line 1,021: / Line 1,021: @@
   |  -  -  -  -  -  -  -  - |  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>