Kite Guitar: Difference between revisions

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== Chords ==

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

These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret. The interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.

=== 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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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 a major 9th to any of the first 4 tetrads sounds good. The up-7 chord is arguably 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. 9ths are shown in parentheses.

{| class="wikitable"

!

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|-

!

!CvM7

!CvM7 (CvM9)

!C^7 (C^9)

!Cv7

!C^m7 = ^Ebv6

!C^m7 = ^Ebv6 (C^m9)

!Cvm7 = vEb^6

!C^m7(b5) = ^Ebvm6

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|-

|frets

|4 4 3 3

|4 4 3 3 (2)

|4 5 3 2 (2)

|4 4 3 1

|4 3 3 2

|4 3 3 2 (2)

|4 2 3 1

|4 3 1 2

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|-

|fingering

|3 4 2 2

|3 4 2 2 (1)

|3 4 2 1 (1)

|3 4 2 1

|4 2 3 1

|4 2 3 1 (1)

|4 2 3 1

|4 3 1 2

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|-

|frets

|2 4 4 . 3

|2 4 4 . 3 (2)

|2 4 5 . 2 (2)

|2 4 4 . 1

|2 4 3 . 2

|2 4 3 . 2 (2)

|2 4 2 . 1

|(difficult)

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|-

|fingering

|1 3 4 . 2

|1 3 4 . 2 (1)

|1 3 4 . 2 (2) *

|2 3 4 . 1

|1 . 4 3 2 *

|1 . 4 3 2 (2) *

|2 4 2 . 1 (?)

|

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=== 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 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.

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.

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. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. 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.

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.

The harmonies are translated as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is B, which is far from the original key of F. That key was chosen so that the first #11 chord could take advantage of an open string. Unfortunately, the 2nd #11 chord can't do that, so a dom7addb5 chord is used instead.

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.

In the two #11 chords near the end, the #11 could have been translated as 11/4, a ~11. But arguably 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, in the chord name the 11th is called a b12, not a v#11.

<tt>

@@ Line 9: / Line 9: @@
 == Chords ==
-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.
+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. The interval between open strings is a downmajor 3rd.
+These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret. The interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.
 === 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 161: / Line 161: @@
 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 a major 9th to any of the first 4 tetrads sounds good. The up-7 chord is arguably 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. 9ths are shown in parentheses.
 {| class="wikitable"
 !
@@ Line 173: / Line 173: @@
 |-
 !
-!CvM7
+!CvM7 (CvM9)
 !C^7 (C^9)
 !Cv7
-!C^m7 = ^Ebv6
+!C^m7 = ^Ebv6 (C^m9)
 !Cvm7 = vEb^6
 !C^m7(b5) = ^Ebvm6
@@ Line 191: / Line 191: @@
 |-
 |frets
-|4 4 3 3
+|4 4 3 3 (2)
 |4 5 3 2 (2)
 |4 4 3 1
-|4 3 3 2
+|4 3 3 2 (2)
 |4 2 3 1
 |4 3 1 2
@@ Line 200: / Line 200: @@
 |-
 |fingering
-|3 4 2 2
+|3 4 2 2 (1)
 |3 4 2 1 (1)
 |3 4 2 1
-|4 2 3 1
+|4 2 3 1 (1)
 |4 2 3 1
 |4 3 1 2
@@ Line 245: / Line 245: @@
 |-
 |frets
-|2 4 4 . 3
+|2 4 4 . 3 (2)
 |2 4 5 . 2 (2)
 |2 4 4 . 1
-|2 4 3 . 2
+|2 4 3 . 2 (2)
 |2 4 2 . 1
 |(difficult)
@@ Line 254: / Line 254: @@
 |-
 |fingering
-|1 3 4 . 2
+|1 3 4 . 2 (1)
 |1 3 4 . 2 (2) *
 |2 3 4 . 1
-|1 . 4 3 2 *
+|1 . 4 3 2 (2) *
 |2 4 2 . 1 (?)
 |
@@ Line 488: / Line 488: @@
 === 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 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.
-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.
+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. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. 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.
+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.
+The harmonies are translated as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is B, which is far from the original key of F. That key was chosen so that the first #11 chord could take advantage of an open string. Unfortunately, the 2nd #11 chord can't do that, so a dom7addb5 chord is used instead.
-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.
+In the two #11 chords near the end, the #11 could have been translated as 11/4, a ~11. But arguably 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, in the chord name the 11th is called a b12, not a v#11.
 <tt>