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)~~ ==

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.

== About 41-EDO ==

This chart 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]]

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

== Translating 12-edo Songs to 41-edo ==

Obviously, the Kite Guitar can do much more than simply play conventional music. But a good starting place is to take what you know and find it on the Kite Guitar. Translating 12-edo music is sometimes problematic but never impossible. Quite often the translated version sounds better, because it's so well tuned.

One way to translate a conventional song 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 the spiral charts in the previous section.

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.

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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.

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.)

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 41-edo's smooth v7 chord is like a guard dog that smiles and wags its tail at strangers instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place in a pre-20th-century context. 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.

For 20th-century music, a Vv7 chord is often appropriate. But 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!

Actual song translations are on separate xenwiki 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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==== Girl From Ipanema ====

==== I Will ====

==== I Will (Beatles) ====

==== Fast Car (Tracy Chapman) ====

==== Every Breath You Take ====

==== Kusuva Musha (mbira) ====

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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) ==
-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.
+== About 41-EDO ==
+This chart 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]]
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 [[File:41-edo spiral with notes.png|frameless|730x730px]]
+== Translating 12-edo Songs to 41-edo ==
+Obviously, the Kite Guitar can do much more than simply play conventional music. But a good starting place is to take what you know and find it on the Kite Guitar. Translating 12-edo music is sometimes problematic but never impossible. Quite often the translated version sounds better, because it's so well tuned.
+One way to translate a conventional song 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 the spiral charts in the previous section.
 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.
@@ Line 494: / Line 499: @@
 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.)
+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 41-edo's smooth v7 chord is like a guard dog that smiles and wags its tail at strangers instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place in a pre-20th-century context. 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.
+For 20th-century music, a Vv7 chord is often appropriate. But 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!
+Actual song translations are on separate xenwiki 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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 ==== Girl From Ipanema ====
-==== I Will ====
+==== I Will (Beatles) ====
+==== Fast Car (Tracy Chapman) ====
+==== Every Breath You Take ====
 ==== Kusuva Musha (mbira) ====