Kite Guitar: Difference between revisions

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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.

One way to translate a conventional song from 12edo to 41edo 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. The two innermost and two outermost intervals are duplicates.

[[File:41-edo spiral.png|673x673px]]

The same spiral, with notes not intervals:

The same spiral, with notes not intervals. Again, the two innermost and two outermost notes are duplicates.

[[File:41-edo spiral with notes.png|frameless|730x730px]]

Often there is only one obvious way to translate a song. ~~"La Bamba" is~~ Iv - IVv ~~- Vv7~~. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.

Often there is only one obvious way to translate a song. I - V - VIm - IV becomes Iv - Vv - vVI^m - IVv. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.

In general, upperfect and downperfect intervals within chords are to be avoided. Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. Avoid plain major and minor 3rds and 6ths.

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Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The two most common commas that cause issues are the [[81/80|Gu]] and [[64/63|Ru]] commas. The choice of which two chords in the pump contain the pitch shift can be tricky. Generally, a root movement by an ^4, v4, ^5 or v5 is avoided. This usually necessitates a root movement by a plain major or minor interval.

For example, ~~the Gu pump might be~~ I - VIm - IIm - V7 - I. Without the pump, I - VIm would be translated as Iv - vVI^m, to avoid shifts. The roots would move by a vM6. With the pump, this might translate to Iv - VI^m - II^m - Vv7 - Iv. The first root movement is by a M6. The tonic and the major 3rd both shift between the I chord and the VI chord. Sometimes an up- or down-perfect root movement is better, see "I Will" ~~below~~.

For example, I - VIm - IIm - V7 - I is a Gu pump. Without the pump, I - VIm would be translated as Iv - vVI^m, to avoid shifts. The roots would move by a vM6. With the pump, this might translate to Iv - VI^m - II^m - Vv7 - Iv. The first root movement is by a M6. The tonic and the major 3rd both shift between the I chord and the VI chord. Sometimes an up- or down-perfect root movement is better, see the "I Will" translation.

Likewise, ~~the Ru pump might be~~ I7 - IV7 - V7 - I7. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I.

Likewise, I7 - IV7 - V7 - I7 is a Ru pump. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I.

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.

In much music, especially pre-20th-century music, the dissonance of the dom7 chord is what drives the V7 - I cadence and gives the music momentum. But the smooth v7 chord is like a guard dog that smiles and wags its tail instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place. One might instead use Vv,7 (down add-7, with a plain minor 7th) or Vv,^7 (down up-7, with an upminor 7th). For example, Am - G - F - E7 can be translated as A^m - ^Gv - ^Fv - Ev,^7. (This also avoids a pitch shift.)

For 20th-century music, when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the ^7 chord, there are three common notes, and the progression feels even more connected.

However, if the I chord has no 7th, or a minor 7th, either II^m7 - Vv7 - Iv(7) or IIvm7 - Vv7 - Iv(7) works. The IIvm7 chord is more connected to the V chord than II^m7.

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!

@@ Line 474: / Line 474: @@
 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.
+One way to translate a conventional song from 12edo to 41edo 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. The two innermost and two outermost intervals are duplicates.
 [[File:41-edo spiral.png|673x673px]]
-The same spiral, with notes not intervals:
+The same spiral, with notes not intervals. Again, the two innermost and two outermost notes are duplicates.
 [[File:41-edo spiral with notes.png|frameless|730x730px]]
-Often there is only one obvious way to translate a song. "La Bamba" is Iv - IVv - Vv7. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.
+Often there is only one obvious way to translate a song. I - V - VIm - IV becomes Iv - Vv - vVI^m - IVv. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.
 In general, upperfect and downperfect intervals within chords are to be avoided. Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. Avoid plain major and minor 3rds and 6ths.
@@ Line 488: / Line 488: @@
 Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The two most common commas that cause issues are the [[81/80|Gu]] and [[64/63|Ru]] commas. The choice of which two chords in the pump contain the pitch shift can be tricky. Generally, a root movement by an ^4, v4, ^5 or v5 is avoided. This usually necessitates a root movement by a plain major or minor interval.
-For example, the Gu pump might be I - VIm - IIm - V7 - I. Without the pump, I - VIm would be translated as Iv - vVI^m, to avoid shifts. The roots would move by a vM6. With the pump, this might translate to Iv - VI^m - II^m - Vv7 - Iv. The first root movement is by a M6. The tonic and the major 3rd both shift between the I chord and the VI chord. Sometimes an up- or down-perfect root movement is better, see "I Will" below.
+For example, I - VIm - IIm - V7 - I is a Gu pump. Without the pump, I - VIm would be translated as Iv - vVI^m, to avoid shifts. The roots would move by a vM6. With the pump, this might translate to Iv - VI^m - II^m - Vv7 - Iv. The first root movement is by a M6. The tonic and the major 3rd both shift between the I chord and the VI chord. Sometimes an up- or down-perfect root movement is better, see the "I Will" translation.
-Likewise, the Ru pump might be I7 - IV7 - V7 - I7. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I.
+Likewise, I7 - IV7 - V7 - I7 is a Ru pump. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I.
 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.
+In much music, especially pre-20th-century music, the dissonance of the dom7 chord is what drives the V7 - I cadence and gives the music momentum. But the smooth v7 chord is like a guard dog that smiles and wags its tail instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place. One might instead use Vv,7 (down add-7, with a plain minor 7th) or Vv,^7 (down up-7, with an upminor 7th). For example, Am - G - F - E7 can be translated as A^m - ^Gv - ^Fv - Ev,^7. (This also avoids a pitch shift.)
+For 20th-century music, when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the ^7 chord, there are three common notes, and the progression feels even more connected.
+However, if the I chord has no 7th, or a minor 7th, either II^m7 - Vv7 - Iv(7) or IIvm7 - Vv7 - Iv(7) works. The IIvm7 chord is more connected to the V chord than II^m7.
 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!