Kite Guitar: Difference between revisions

Line 178:

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. 9ths are shown in parentheses.

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. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.

{| class="wikitable"

!

Line 379:

|1 3 1 4

|}

11th chords include the vM9,v#11 (4 4 3 3 2 2), vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All but the first of these contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The first chord's v#11th is 45/16, which is equivalent to 14/5, because 41edo tempers out the [[225/224|Ruyoyo]] comma. Thus the chord's odd limit is only 15.

Another chord with an innate Ruyoyo comma is vM7sus4 (4 6 3 3), in which the vM7 is both 15/8 and 28/15. Yet another is v7(b5) (4 4 2 2), in which the b5 is both 7/5 and 45/32.

== Songs (major tuning) ==

Line 467:

Line 472:

IIvm7(b5) . . 5 3 2 2 a down-halfdim chord

Vsus4 6 8 5 7 . . fingering: 2 ~~4 1~~ 3

Vsus4 6 . 5 7 9 .

Vv7 6 . 5 3 7 .

</tt>

Chords for 6-string guitar in the key of Bb upminor:

<tt>

I^m7 8 . 7 6 8 .

IV^m7 . 10 . 9 8 10

bVIIv7 . . 12 12 11 9

bIIIvM7 13 . 12 12 14 .

bVIvM7 1 . 0 0 2 1 possible fingering 1 . . . 3 2

IIvm7(b5) . 5 3 2 2 . a down-halfdim chord

Vsus4 . . 7 9 6 8

Vv7 6 6 5 3 . .

Vv7 . . 7 7 6 4

~~Vv7 6 . 5 3 7 . switch to this voicing halfway through the measure,~~

~~for better voice leading into the I^m7 chord~~

</tt>

@@ Line 178: / Line 178: @@
 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. 9ths are shown in parentheses.
+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. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.
 {| class="wikitable"
 !
@@ Line 379: / Line 379: @@
 |1 3 1 4
 |}
+th chords include the vM9,v#11 (4 4 3 3 2 2), vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All but the first of these contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The first chord's v#11th is 45/16, which is equivalent to 14/5, because 41edo tempers out the [[225/224|Ruyoyo]] comma. Thus the chord's odd limit is only 15.
+Another chord with an innate Ruyoyo comma is vM7sus4 (4 6 3 3), in which the vM7 is both 15/8 and 28/15. Yet another is v7(b5) (4 4 2 2), in which the b5 is both 7/5 and 45/32.
 == Songs (major tuning) ==
@@ Line 467: / Line 472: @@
   IIvm7(b5)  .  .  5  3  2  2       a down-halfdim chord
-  Vsus4      6  8  5  7  .  .       fingering: 2 4 1 3
+  Vsus4      6  .  5  7  9  .
+ Vv7        6  .  5  3  7  .
+</tt>
+Chords for 6-string guitar in the key of Bb upminor:
+<tt>
+ I^m7       8  .  7  6  8  .
+ IV^m7      . 10  .  9  8 10
+ bVIIv7     .  . 12 12 11  9
+ bIIIvM7   13  . 12 12 14  .
+ bVIvM7     1  .  0  0  2  1       possible fingering 1 . . . 3 2
+ IIvm7(b5)  .  5  3  2  2  .       a down-halfdim chord
+ Vsus4      .  .  7  9  6  8
-  Vv7        6  6  5  3  .  .
+  Vv7        .  .  7  7  6  4
- Vv7        6  .  5  3  7  .       switch to this voicing halfway through the measure,
-                                   for better voice leading into the I^m7 chord
 </tt>