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 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.

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. The interval between open strings is a downmajor 3rd.

=== Triads ===

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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== Songs ==

These conventional songs have been translated from 12edo to 41edo. Often there is more than one obvious way to translate a song.

These conventional songs have been translated from 12edo to 41edo. The process is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, then translate that to 41edo, keeping in mind the Layo, Ruyoyo and Saruyo minicommas.

Often there is more than one obvious way to translate a song. In general, downmajor is preferred over upmajor, but either upminor or downminor are OK. Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The choice of which two chords contain the shift is tricky.

=== Stormy Monday ===

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<tt>

I^m7 IV^m7 bVIIv7 bIIIvM7

bVIvM7 IIvm7(b5) Vsus4 Vv7

</tt>

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E^m7 ^Gv7 ^Cv7 / | A^7 ^Cv7 ^Gv7 / (coda)

</tt>

=== Girl From Ipanema ===

The famous melody is not written out, but for each chord, each note (i. e. pitch) of the melody is written once only. For example, the "Tall and tan and young and lovely" line has the melody 9 7 7 6 9 7 7 7, but only the notes 9 7 and 6 are shown. The melody notes are shown in 3 ways: a (string, fret) format that shows where it's played on guitar, the note's interval from the tonic, and the note's interval from the current chord's root. I did the 3rd way because I find the song extremely well written, and wanted to analyze its structure.

The A part has an 81/80 comma issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. I chose to instead root the chord on the vII, to avoid the melody straying from the tonic. This works to my ear, but if a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.

In the B part, this translation has the song pumping the Layo comma, causing it to travel around the fingerboard quite a bit. The melody strays quite far from the original key, using e.g. ^5 and ^8. These notes seem far less offensive in the B part than in the A part because there is no I chord in the entire B part.

I translated the harmonies as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is B, which is pretty far from the original key of F. I chose that key so that the first #11 chord could take advantage of an open string. Unfortunately, the 2nd #11 chord can't do that, so I had to settle for a dom7b5 chord.

In the two #11 chords near the end, I could have translated the #11 as 11/4, a ~11. But IMO the reason the 9th is flat is to justify/reinforce the #11. The b9 along with the b7 and #11 create a harmonious 1st inversion major triad. Since the b7 is 7/4, the b9 must be 21/10 and the #11 must be 14/5. To make this upper structure clearer, the #11 is called a b12, not a v#11.

<tt>

IvM9 / IIv6 / | vII^m7 #Iv7(b5) IvM7 #Iv7(b5)

|

#IvM7 / #IVv7 / | #I^m9 / ^VIv7 /

|

^II^m9 / ~VIIv7 / | III^m7 VIv7b9b12 II^m7 Vv7b9b12

</tt>

Chords for 6-string guitar:

<tt>

----------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,

3 4 2 2 1 9 v7 6 (from tonic) the 9th is supplied by the melody,

9 v7 6 (from root) and this chord could be a vM7 chord instead.

IIv6 . 6 6 8 7 . (2,7) (3,8) (3,5)

1 1 3 2 9 v7 6

8 v6 5

vII^m7 12 11 11 10 . . (3,10) (4,11) (4,8) Could have been an ^m9 chord.

4 2 3 1 8 v6 5 Could also have been a II^m7 chord, see above.

^b7 5 ^4

#Iv7(b5) 11 11 8 8 . . (3,8) (4,8) (5,11) Could be called an ^bII chord.

3 4 1 1 v7 5 4

vb7 b5 v3

IvM7 9 9 8 8 . . (4,8) The fingering is chosen to easily slide into

3 4 1 1 5 the next chord.

5

#Iv7(b5) 11 11 8 8 . .

3 4 1 1

#IvM7 11 11 10 10 . . (3,10) (3,12) (4,13) Could have been an ^m9 chord.

3 4 1 1 8 ^b9 b7 Could be called an ^bII chord.

v7 8 v6

#IVv7 . 13 13 12 10 . (4,10) (4,13) Should be a v9 chord, but I only have 4 fingers!

3 4 2 1 ^b6 b7 Could have a low-5 voicing

9 v10

#I^m9 11 10 10 9 9 . (2,9) (2,1) (3,12) If the melody supplies the 9th, could be a ^m7 chord.

4 3 2 2 1 ^b10 ^10 #8 The ^b10 can be thought of as a #9

9 ^b10 8

^VIv7 . 10 12 12 . 9 (3,9) (3,12)

2 3 4 1 ^7 #8

9 v10

^II^m9 13 12 12 11 11 . (2,11) (2,13) (3,14) If the melody supplies the 9th, could be a ^m7 chord.

4 2 3 1 1 ^10 ~11 ^9

9 ^b10 8

~VIIv7 . 12 14 14 . 11 (3,11) (3,14) (2,11) (2,13)

2 3 4 1 ^^8 ^9 ^10 ~11

9 v10 b12 12

III^m7 . . 3 2 2 1 (2,16)(3,2)(3,5)(2,2)(2,4)(1,1)

4 2 3 1 ^12 ^5 6 7 ^8 ^9

^b10 ^b3 4 5 v6 ^b7

VIv7b9b12 4 . 3 1 0 2 (1,2) (1,4) If the melody supplies the b12th, could be a v7b9 chord.

4 3 1 2 b10 10

b5 5

II^m7 . 6 5 5 4 . (1,6)(4,5)(4,8)(3,5)(3,8)(2,4) (3,8) could be (2,2) = 7 = 6, or even (3,9) = ^7 = ^6

4 2 3 1 ^11 ^4 5 6 v7 ^8

^b10 ^b3 4 5 v6 ^b7

Vv7b5 . 6 8 8 5 5 (2,5) Should be a v7b9b12 chord, not enough strings or fingers!

2 3 4 1 1 b9 (Vv7b5 means add a flat 5, Vv7(b5) means flatten the 5.)

b5

vII^m9 (2,10) (3,10) (4,11) Ending melody: "When she passes I"

v10 8 v6 If the melody supplies the 9th, could be a ^m7 chord.

9 ^b7 5

#Iv7(b5) (1,9) (3,8) (4,11) "smile, but she doesn't"

12 v7 v6

b12 vb7 vb6

IvM7 (3,8) "see"

v7

#Iv7(b5) (3,8) (4,1) "She just doesn't"

v7 v6

vb7 vb6

</tt>

@@ Line 11: / Line 11: @@
 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 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.
+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. The interval between open strings is a downmajor 3rd.
 === Triads ===
 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.
@@ Line 359: / Line 359: @@
 == Songs ==
-These conventional songs have been translated from 12edo to 41edo. Often there is more than one obvious way to translate a song.
+These conventional songs have been translated from 12edo to 41edo. The process is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, then translate that to 41edo, keeping in mind the Layo, Ruyoyo and Saruyo minicommas.
+Often there is more than one obvious way to translate a song. In general, downmajor is preferred over upmajor, but either upminor or downminor are OK. Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The choice of which two chords contain the shift is tricky.
 === Stormy Monday ===
@@ Line 432: / Line 433: @@
 <tt>
   I^m7      IV^m7      bVIIv7    bIIIvM7
   bVIvM7    IIvm7(b5)  Vsus4     Vv7
 </tt>
@@ Line 483: / Line 485: @@
   E^m7   ^Gv7    ^Cv7     /     |  A^7   ^Cv7    ^Gv7     /          (coda)
+</tt>
+=== Girl From Ipanema ===
+The famous melody is not written out, but for each chord, each note (i. e. pitch) of the melody is written once only. For example, the "Tall and tan and young and lovely" line has the melody 9 7 7 6 9 7 7 7, but only the notes 9 7 and 6 are shown. The melody notes are shown in 3 ways: a (string, fret) format that shows where it's played on guitar, the note's interval from the tonic, and the note's interval from the current chord's root. I did the 3rd way because I find the song extremely well written, and wanted to analyze its structure.
+The A part has an 81/80 comma issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. I chose to instead root the chord on the vII, to avoid the melody straying from the tonic. This works to my ear, but if a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.
+In the B part, this translation has the song pumping the Layo comma, causing it to travel around the fingerboard quite a bit. The melody strays quite far from the original key, using e.g. ^5 and ^8. These notes seem far less offensive in the B part than in the A part because there is no I chord in the entire B part.
+I translated the harmonies as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is B, which is pretty far from the original key of F. I chose that key so that the first #11 chord could take advantage of an open string. Unfortunately, the 2nd #11 chord can't do that, so I had to settle for a dom7b5 chord.
+In the two #11 chords near the end, I could have translated the #11 as 11/4, a ~11. But IMO the reason the 9th is flat is to justify/reinforce the #11. The b9 along with the b7 and #11 create a harmonious 1st inversion major triad. Since the b7 is 7/4, the b9 must be 21/10 and the #11 must be 14/5. To make this upper structure clearer, the #11 is called a b12, not a v#11.
+<tt>
+ IvM9        /      IIv6       /      |    vII^m7  #Iv7(b5)   IvM7    #Iv7(b5)
+                                      |
+ #IvM7       /      #IVv7      /      |    #I^m9      /       ^VIv7     /
+                                      |
+ ^II^m9      /      ~VIIv7     /      |    III^m7  VIv7b9b12  II^m7   Vv7b9b12
+</tt>
+Chords for 6-string guitar:
+<tt>
+ ----------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,
+  4  2  2  1           9    v7     6    (from tonic)      the 9th is supplied by the melody,
+    v7     6    (from root)       and this chord could be a vM7 chord instead.
+ IIv6         .  6  6  8  7  .      (2,7) (3,8) (3,5)
+  1  3  2           9    v7     6
+    v6     5
+ vII^m7       12 11 11 10 .  .      (3,10) (4,11) (4,8)                  Could have been an ^m9 chord.
+  2  3  1              8     v6      5                    Could also have been a II^m7 chord, see above.
+                                     ^b7     5     ^4
+ #Iv7(b5)     11 11 8  8  .  .      (3,8) (4,8) (5,11)                   Could be called an ^bII chord.
+  4  1  1              v7    5     4
+                                     vb7   b5    v3
+ IvM7         9  9  8  8  .  .      (4,8)                                The fingering is chosen to easily slide into
+  4  1  1              5                                  the next chord.
+ #Iv7(b5)     11 11 8  8  .  .
+  4  1  1
+ #IvM7        11 11 10 10 .  .      (3,10) (3,12) (4,13)                Could have been an ^m9 chord.
+  4  1  1              8     ^b9     b7                  Could be called an ^bII chord.
+                                     v7      8      v6
+ #IVv7        .  13 13 12 10 .      (4,10) (4,13)                       Should be a v9 chord, but I only have 4 fingers!
+  4  2  1          ^b6    b7                          Could have a low-5 voicing
+     v10
+ #I^m9        11 10 10 9  9  .      (2,9) (2,1) (3,12)                  If the melody supplies the 9th, could be a ^m7 chord.
+  3  2  2  1         ^b10   ^10    #8                    The ^b10 can be thought of as a #9
+    ^b10    8
+ ^VIv7        .  10 12 12 .  9      (3,9) (3,12)
+  3  4     1       ^7    #8
+    v10
+ ^II^m9       13 12 12 11 11 .      (2,11) (2,13) (3,14)                If the melody supplies the 9th, could be a ^m7 chord.
+  2  3  1  1          ^10    ~11    ^9
+     ^b10    8
+ ~VIIv7       .  12 14 14 . 11      (3,11) (3,14) (2,11) (2,13)
+  3  4    1        ^^8    ^9     ^10    ~11
+    v10    b12     12
+ III^m7       .  .  3  2  2  1      (2,16)(3,2)(3,5)(2,2)(2,4)(1,1)
+  2  3  1       ^12    ^5   6    7   ^8   ^9
+                                     ^b10   ^b3  4    5   v6   ^b7
+ VIv7b9b12    4  .  3  1  0  2      (1,2) (1,4)                         If the melody supplies the b12th, could be a v7b9 chord.
+     3  1     2       b10    10
+                                     b5     5
+ II^m7        .  6  5  5  4  .      (1,6)(4,5)(4,8)(3,5)(3,8)(2,4)      (3,8) could be (2,2) = 7 = 6, or even (3,9) = ^7 = ^6
+  2  3  1          ^11  ^4    5    6   v7   ^8
+                                     ^b10 ^b3   4    5   v6   ^b7
+ Vv7b5        .  6  8  8  5  5      (2,5)                               Should be a v7b9b12 chord, not enough strings or fingers!
+  3  4  1  1        b9                                (Vv7b5 means add a flat 5, Vv7(b5) means flatten the 5.)
+                                      b5
+ vII^m9                             (2,10) (3,10) (4,11)                Ending melody: "When she passes I"
+                                     v10     8     v6                   If the melody supplies the 9th, could be a ^m7 chord.
+     ^b7     5
+ #Iv7(b5)                           (1,9) (3,8) (4,11)                  "smile, but she doesn't"
+    v7    v6
+                                     b12    vb7   vb6
+ IvM7                               (3,8)                               "see"
+                                      v7
+                                      v7
+ #Iv7(b5)                           (3,8) (4,1)                         "She just doesn't"
+                                      v7    v6
+                                     vb7   vb6
 </tt>