Kite Guitar: Difference between revisions

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=== Sixth chords ===

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. A good non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 8 5) and high-6 (R 3 5 8 6).

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. A good non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. Other possibilities are high-3-5 (R 6 3 5), high-3-6 (R 5 3 6), high-5 (R 3 6 8 5) and high-6 (R 3 5 8 6).

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

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=== Manhattan Island Serenade ===

=== Manhattan Island Serenade (Leon Russell) ===

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>

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IV^9 . 9 10 8 7 7

</tt>

=== Hotel California ===

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>

I^m Vv ^bVIIv ^IVv

^^bVIv ^^bIIIv ^IV^m Vv7

</tt>

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:

<tt>

I^m Vv bVIIv IVv

^bVIv ^bIIIv IV^m Vv7

</tt>

The chorus is straightforward:

<tt>

^bVIv ^bIIIv Vv7 I^m

^bVIv ^bIIIv IV^m Vv7

</tt>

=== Girl From Ipanema ===

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 |}
 === Sixth chords ===
-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. A good non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 8 5) and high-6 (R 3 5 8 6).
+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. A good non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. Other possibilities are high-3-5 (R 6 3 5), high-3-6 (R 5 3 6), high-5 (R 3 6 8 5) and high-6 (R 3 5 8 6).
 The up-6 chord is particularly dissonant, unless voiced as its homonym the vm7 chord.
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 </tt>
-=== Manhattan Island Serenade ===
+=== Manhattan Island Serenade (Leon Russell) ===
 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>
@@ Line 510: / Line 510: @@
   IV^9        .  9  10 8  7  7
 </tt>
+=== Hotel California ===
+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>
+ I^m      Vv       ^bVIIv   ^IVv
+ ^^bVIv   ^^bIIIv  ^IV^m    Vv7
+</tt>
+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:
+<tt>
+ I^m      Vv       bVIIv    IVv
+ ^bVIv    ^bIIIv   IV^m     Vv7
+</tt>
+The chorus is straightforward:
+<tt>
+ ^bVIv    ^bIIIv   Vv7      I^m
+ ^bVIv    ^bIIIv   IV^m     Vv7
+</tt>
 === Girl From Ipanema ===