Kite Guitar: Difference between revisions

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But anyway, the two designs can coexist on the same fretboard by simply inserting an extra fret between the 1st and 2nd instead of moving the 2nd fret lower as I have done, and by varying the tuning of the open strings as you please. It's a fantastic way to access the resources of 41edo on a guitar, without having an absurd number of very closely-spaced frets!"

Possible method for implementing the half-fret capo trick: An extra fret slot is cut to allow insertion of a temporary fret in between the 1st and 2nd (permanent) frets. The slot stops short of the treble side of the fretboard. So gravity holds it in place, plus of course the capo. The temporary fret has the barbs on the side of the tang filed off. The extra slot is a bit wider, so the fret can be pulled out easily. It goes in from the side, under the strings, so the strings don't need to be loosened. Should be able to insert it and remove it on stage between songs. The fret is a bit longer, sticks out about 1/2 inch, so that you can pull it out easily. There is a hole or something in the sticking-out part, to attach a wire or something, so that the fret can be attached to the capo. Keeps one from losing it.

== Chords (major tuning) ==

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. (Some chords fall outside these 3 categories.)

There are many chords to explore, but the obvious place to start is with those of [[odd-limit|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. (Some chords fall outside these 3 categories.)

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. In these tables, 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.

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=== 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). 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).

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). Half-dim chords can alternatively be named as dim add-7 chords, e.g. the up-half-dim chord is C^dim,^7 or C^o,^7.

Adding a major 9th (ratio 9/4) 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.

'''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4) to any of the first 4 tetrads sounds good. The up-7 chord is arguably improved by adding a 9th. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.

{| class="wikitable"

!chord type

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4 4 3 1 (2)

|4 2 3 1 (1)

4 3 2 1 (1)

3 2 2 1 (1)

|4 2 3 1

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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. 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.

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

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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|}

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.

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 intervallic 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) ==

These conventional songs have been translated from 12edo to 41edo. One way to do this is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use this chart which shows 41-edo in terms of 12-edo. The 12 categories circled in red correspond to the notes of 12-edo.

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One way to hide pitch shifts is to voice the two occurrences of the pitch in different octaves. Another way is to omit the 5th in one of the chords. Thus in the Gu example, the 2nd chord might be VI^mno5.

Actual song translations are on separate pages, grouped by translator. if you have any translations, feel free to ~~add~~ your own page!

Actual song translations are on separate pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here!

=== [[Song_Translations_by_Kite_Giedraitis_to_The_Kite_Guitar|Kite Giedraitis's Translations to the Kite Guitar]] ===

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 But anyway, the two designs can coexist on the same fretboard by simply inserting an extra fret between the 1st and 2nd instead of moving the 2nd fret lower as I have done, and by varying the tuning of the open strings as you please. It's a fantastic way to access the resources of 41edo on a guitar, without having an absurd number of very closely-spaced frets!"
+Possible method for implementing the half-fret capo trick: An extra fret slot is cut to allow insertion of a temporary fret in between the 1st and 2nd (permanent) frets. The slot stops short of the treble side of the fretboard. So gravity holds it in place, plus of course the capo. The temporary fret has the barbs on the side of the tang filed off. The extra slot is a bit wider, so the fret can be pulled out easily. It goes in from the side, under the strings, so the strings don't need to be loosened. Should be able to insert it and remove it on stage between songs. The fret is a bit longer, sticks out about 1/2 inch, so that you can pull it out easily. There is a hole or something in the sticking-out part, to attach a wire or something, so that the fret can be attached to the capo. Keeps one from losing it.
 == Chords (major tuning) ==
-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. (Some chords fall outside these 3 categories.)
+There are many chords to explore, but the obvious place to start is with those of [[odd-limit|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. (Some chords fall outside these 3 categories.)
 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. In these tables, 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.
@@ Line 208: / Line 210: @@
 === 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). 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).
+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). Half-dim chords can alternatively be named as dim add-7 chords, e.g. the up-half-dim chord is C^dim,^7 or C^o,^7.
-Adding a major 9th (ratio 9/4) 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.
+'''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4) to any of the first 4 tetrads sounds good. The up-7 chord is arguably improved by adding a 9th. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.
 {| class="wikitable"
 !chord type
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 4 3 1 (2)
 |4 2 3 1 (1)
+3 2 1 (1)
 2 2 1 (1)
 |4 2 3 1
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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. 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.
+The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.
 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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 |}
-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.
+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 intervallic 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) ==
 These conventional songs have been translated from 12edo to 41edo. One way to do this is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use this chart which shows 41-edo in terms of 12-edo. The 12 categories circled in red correspond to the notes of 12-edo.
@@ Line 493: / Line 494: @@
 One way to hide pitch shifts is to voice the two occurrences of the pitch in different octaves. Another way is to omit the 5th in one of the chords. Thus in the Gu example, the 2nd chord might be VI^mno5.
-Actual song translations are on separate pages, grouped by translator. if you have any translations, feel free to add your own page!
+Actual song translations are on separate pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here!
 === [[Song_Translations_by_Kite_Giedraitis_to_The_Kite_Guitar|Kite Giedraitis's Translations to the Kite Guitar]] ===