Kite Guitar: Difference between revisions

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There are many chords to explore, but the obvious place to start is with those of intervallic [[odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the 9/(9:7:6:5:4) pentad. Thus most of these chords can be classified as either harmonic or subharmonic. The only exceptions are the ^m7 and vm7 chords (and their homonyms v6 and ^6), which are classified as stacked chords, because they are formed by stacking complimentary 3rds.

These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. In these tables, the root is ~~always~~ on the 4th fret. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.

These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. In these tables, the root is placed arbitrarily on the 4th fret. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.

=== Triads ===

The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad.

Other voicings are possible; these are just the most convenient ones. The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad.

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=== Tetrads - Seventh chords ===

It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). ~~Other tetrad voicings are~~ possible~~; these are just the most convenient ones~~. With 7 strings, a high-3-7 voicing is possible (R 5 3 7).

It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). A high-3 low-5 voicing is possible (5 R 7 3). With 7 strings, a high-3-7 voicing is possible (R 5 3 7).

Adding major 9th to any of the first 3 tetrads ~~will not raise the odd limit above 9~~. The up-7 chord is ~~often~~ improved by adding a 9th.

Adding a major 9th to any of the first 4 tetrads sounds good. The up-7 chord is arguably improved by adding a 9th.

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Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th. Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. Another voicing is the low-6 aka 3rd inversion (6 R 3 5). But this is the same as the close voicing of the corresponding 7th chord, and again the chord can be mistaken. The least ambiguous non-riffing voicing is low-5 (5 R 3 6), but it can be a difficult stretch.

The up-6 chord is particularly dissonant.

The up-6 chord is particularly dissonant, unless voiced as its homonym the vm7 chord.

Adding a 9th to any of these chords will make a wolf 4th ~~or a wolf 5th~~. ~~Sometimes~~ an 11th ~~can be added~~.

Adding a major 9th to any of these chords will make a wolf 4th with the 6th. Adding an 11th to either the ^m6 or the vm6 chord won't increase the odd limit above 9.

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!up-6 or

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 There are many chords to explore, but  the obvious place to start is with those of intervallic [[odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the 9/(9:7:6:5:4) pentad. Thus most of these chords can be classified as either harmonic or subharmonic. The only exceptions are the ^m7 and vm7 chords (and their homonyms v6 and ^6), which are classified as stacked chords, because they are formed by stacking complimentary 3rds.
-These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. In these tables, the root is always on the 4th fret. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.
+These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. In these tables, the root is placed arbitrarily on the 4th fret. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.
 === Triads ===
-The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad.
+Other voicings are possible; these are just the most convenient ones. The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad.
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 !
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 === Tetrads - Seventh chords ===
-It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). Other tetrad voicings are possible; these are just the most convenient ones. With 7 strings, a high-3-7 voicing is possible (R 5 3 7).
+It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). A high-3 low-5 voicing is possible (5 R 7 3). With 7 strings, a high-3-7 voicing is possible (R 5 3 7).
-Adding major 9th to any of the first 3 tetrads will not raise the odd limit above 9. The up-7 chord is often improved by adding a 9th.
+Adding a major 9th to any of the first 4 tetrads sounds good. The up-7 chord is arguably improved by adding a 9th.
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 !
@@ Line 268: / Line 268: @@
 Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th. Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. Another voicing is the low-6 aka 3rd inversion (6 R 3 5). But this is the same as the close voicing of the corresponding 7th chord, and again the chord can be mistaken. The least ambiguous non-riffing voicing is low-5 (5 R 3 6), but it can be a difficult stretch.
-The up-6 chord is particularly dissonant.
+The up-6 chord is particularly dissonant, unless voiced as its homonym the vm7 chord.
-Adding a 9th to any of these chords will make a wolf 4th or a wolf 5th. Sometimes an 11th can be added.
+Adding a major 9th to any of these chords will make a wolf 4th with the 6th. Adding an 11th to either the ^m6 or the vm6 chord won't increase the odd limit above 9.
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 !up-6 or