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→Chord shapes (downmajor tuning): added lots of chords
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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 ^m7 and vm7 chords (and their homonyms v6 and ^6) are classified as '''stacked''' chords, because they are formed by stacking complimentary 3rds. Many 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 ^m7 and vm7 chords (and their homonyms v6 and ^6) are classified as '''stacked''' chords, because they are formed by stacking complimentary 3rds. Many 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.
These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. 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.
 
Don't get overwhelmed! The first two tables contain all the essential chords.
=== Triads ===
=== Triads ===
Other voicings are possible; these are just the most convenient ones. The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad.
Other voicings are possible; these are just the most convenient ones. The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad. See "Innate-comma chords" below for augmented triads.
{| class="wikitable"
{| class="wikitable"
!chord type
!chord type ---->
!sus4
!sus4
!up or
!up or
Line 320: Line 322:


=== Seventh chords ===
=== 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 (5 R 7 3) uses all 6 strings, thus is only sometimes possible. A high-3-7 voicing (R 5 3 7) requires 7 strings. 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.
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 (5 R 7 3) uses all 6 strings, thus is only sometimes possible. A high-3-7 voicing (R 5 3 7) requires 7 strings. Half-dim chords can alternatively be named as dim add-7 chords, e.g. the uphalfdim chord is C^dim^7 or C^o^7, spoken as updim-upseven.
 
The upmajor7 chord C^M7 = C ^E G ^B is quite dissonant, with ^M7 = 27/14. See "Innate-comma chords" below for dim7 chords.
 
'''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4, example note D) to any of the first 4 tetrads increases the intervallic odd-limit only slightly if at all. 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.


'''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4, example note D) to any of the first 4 tetrads increases the odd limit only slightly if at all. 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.
11th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 is very difficult to play.
{| class="wikitable"
{| class="wikitable"
!chord type
!chord type ---->
!downmajor7
!downmajor7
(downmajor9)
(downmajor9)
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!downhalfdim
!downhalfdim
|-
|-
!example, with homonym
!example
!CvM7  
!CvM7  
(CvM9)
(CvM9)
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!vm7 = 7/4
!vm7 = 7/4
|-
|-
|'''<u>close voicing</u> R 3 5 7 (9)'''
| colspan="8" |'''<u>close voicing</u> R 3 5 7 (9)'''
| colspan="7" |
|-
|-
|frets
|frets
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|4 2 1 1
|4 2 1 1
|-
|-
|'''<u>high-3 voicing</u> R 5 7 3'''
| colspan="8" |'''<u>high-3 voicing</u> R 5 7 3'''
| colspan="7" |
|-
|-
|frets
|frets
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|4 . 1 1 3
|4 . 1 1 3
|-
|-
|'''<u>low-5 voicing</u> 5 R 3 7 (9)'''
| colspan="8" |'''<u>low-5 voicing</u> 5 R 3 7 (9)'''
| colspan="7" |
|-
|-
|frets
|frets
Line 458: Line 461:
|2 4 2 . 1
|2 4 2 . 1
|}
|}
The downadd7no5 chord has 5/4 and 16/9. Surprisingly, this chord is also intervallic odd-limit 9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224|Ruyoyo]] comma of only 8¢, 64/45 is equivalent to 10/7. The high-3 voicing inverts this into an even smoother 7/5. Note that adding the 5th would increase the odd-limit to 27. In chord names, alterations are enclosed in parentheses, and additions are set off with a comma (the punctuation mark, not the interval!) In general, the comma is spoken as "add". Thus C-down add-seven is Cv,7 = C vE G Bb. Compare with C down-seven = Cv7 = C vE G vBb.


The downmajor7sus4 chord (odd-limit 15) also has an innate ruyoyo comma. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. Its homonym is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.
=== 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 (3/6 in the tab indicates alternating between the 3rd and 6th fret). 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 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. The best voicing is high-3-5 (R 6 3 5), but with only 6 strings, it often isn't possible. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 5 or 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.
 
Adding a major 9th (ratio 9/4) to any of these chords will make a wolf 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th, but can be added if the 5th is omitted. The chord becomes ambiguous. C^6,^9no5 is the same as ^Dv9no3. Cv6,v9no5 is vD^9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.
 
Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the intervallic odd-limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord.
{| class="wikitable"
!chord type ---->
!up-6 or
upmajor-6
!down-6 or
downmajor-6
!upminor-6
(upminor-6 add-11)
!downminor-6
|-
!example, with homonym
!C^6 = ^Avm7
!Cv6 = vA^m7
!C^m6 = ^Avm7(b5)
(C^m6,11 = F^9)
!Cvm6 = vA^m7(b5)
|-
!example notes
!C ^E G ^A
!C vE G vA
!C ^Eb G ^A
!C vEb G vA
|-
!ratio of the 3rd
!^M3 = 9/7
!vM3 = 5/4
!^m3 = 6/5
!vm3 = 7/6
|-
!ratio of the 5th
!P5 = 3/2
!P5 = 3/2
!P5 = 3/2
!P5 = 3/2
|-
!ratio of the 6th
!^M6 = 12/7
!vM6 = 5/3
!^M6 = 12/7
!vM6 = 5/3
|-
|'''<u>close voicing for riffing</u> R 3 5/6 (8)'''
| colspan="4" |
|-
|frets
|4 5 3/7
|4 4 3/6
|4 3 3/7 (5)
|4 2 3/6
|-
|suggested fingerings
|2 3 1/4
|2 3 1/4
|2 1 1/4 (3)
|3 1 2/4
|-
|'''<u>close no-5th voicing</u> R 3 6 8'''
| colspan="4" |
|-
|homonyms
|C^6no5 = ^Avm
|Cv6no5 = vA^m
|C^m6no5 = ^Avdim
|Cvm6no5 = vA^dim
|-
|frets
|4 5 7 5
|4 4 6 5
|4 3 7 5
|4 2 6 5
|-
|suggested fingerings
|1 2 4 3
|1 1 3 2
|2 1 4 3
|2 1 4 3
|-
|'''<u>low-6 voicing</u> 6 R 3 5 (11)'''
| colspan="4" |
|-
|frets
|6 4 5 3
|5 4 4 3
|6 4 3 3 . (7)
|5 4 2 3
|-
|suggested fingerings
|4 2 3 1
|4 2 3 1
|4 2 1 1
3 2 1 1 . (4)
|4 3 1 2
|-
|'''<u>low-5 voicing</u> 5 R 3 6'''
| colspan="4" |
|-
|frets
|2 4 5 7
|2 4 4 6
|2 4 3 7
|2 4 2 6
|-
|suggested fingerings
|1 2 3 4
|1 2 3 4
|1 3 2 4
|1 3 1 4
|-
|'''<u>high-3-5 voicing</u> R 6 (8) 3 5'''
| colspan="4" |
|-
|frets
|4 . 7 . 6 4
|4 . 6 (5) 5 4
|4 . 7 (5) 4 4
|4 . 6 (5) 3 4
|-
|suggested fingerings
|1 . 4 . 3 2
1 . 4 . 3 1
|1 . 4 . 3 2
1 . 4 (2) 3 1
|1 . 4 (2) 1 1
|
|}
 
=== Innate-comma chords ===
The downadd7no5 chord has 5/4 and 16/9. Surprisingly, its intervallic odd-limit is only 9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224|Ruyoyo]] comma of only 8¢, 64/45 is equivalent to 10/7. The high-3 voicing inverts this into an even smoother 7/5. This dom7 chord is often appropriate for translating 12-edos V7 -- I cadence: relaxed but not too relaxed. Note that adding the 5th would increase the odd-limit to 27. In chord names, alterations are enclosed in parentheses, and additions are set off with a comma (the punctuation mark, not the interval!) In general, the comma is spoken as "add". Thus C-down add-seven is Cv,7 = C vE G Bb. Compare with C down-seven = Cv7 = C vE G vBb.
 
The downmajor7sus4 chord (odd-limit 15) also has an innate Ruyoyo comma. It's quite striking in close position. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of CvM7(4) is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.
 
The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.
 
All three of these chords contain the chord shape 4 1 1. This 3-note "nugget" implies the Ruyoyo comma: 9/8 plus 5/4 equals 7/5. By itself, it's the v,7no5 chord in low-7 voicing. The v7(b5) chord in close voicing (4 4 1 1) also contains the octave inverse of this nugget, 4 4 1. By itself, this inverse nugget makes Cv(b5) = C vE Gb (odd-limit 9). It's possible to confuse "C-down flat-5" = Cv(b5) with "C downflat-5" = C(vb5) = C E vGb = C E ^^F. However, the latter chord is very unlikely.


The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. Its homonym is the downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. The upflat five is enharmonically equivalent to an aug 4th = 10/7.
The downaddflat5 chord Cv,b5 (odd-limit 15) has both a perfect and a diminished 5th. This chord is best voiced low-5. In other voicings, the two 5ths are on the same string, and one must play a riff that alternates between the two (indicated as 1/3 in the tab, 1st and 3rd fret).  


All three of these chords can be voiced to contain the chord shape 4 1 1. This 3-note "nugget" is the essence of the Ruyoyo comma: 9/8 + 5/4 = 7/5. By itself, it's the v,7no5 chord in low-7 voicing. The v7(b5) chord in close voicing (4 4 1 1) also contains the octave inverse of this nugget, 4 4 1. By itself, this inverse nugget makes Cv(b5) (odd-limit 9). This inverse nugget is also found in Cv,b5 (odd-limit 15). This chord is easiest to play in a low-5 voicing. In other voicings, the P5 and b5 are on the same string, and one must play a riff that alternates between the two (indicated as 1/3 in the tab, 1st and 3rd fret). When the added b5 is voiced an 8ve higher, it becomes a v#11, and suggests the vM9,v#11 chord (odd-limit 15).
When the added b5 is voiced an 8ve higher, it becomes a v#11, and suggests the downmajor7downsharp11 and downmajor9downsharp11 chords (both odd-limit 15). No need to omit the 3rd, it makes a pleasant M9 = 9/4 with the 11th.
{| class="wikitable"
{| class="wikitable"
|+Chords with an innate Ruyoyo comma
!
!chord type
!downadd7no5
!downadd7no5
!downmaj7sus4
!downmaj7sus4
!down7flat5
!down7flat5
!downb5
!down-flat5
!downaddb5
!downaddflat5
!downmaj9down#11
!downmaj9down#11
|-
|-
!example, with homonym
! rowspan="2" |example
!Cv,7no5
!Cv,7no5 = Bb2(b5)
!CvM7(4) = F2,b5
!CvM7(4) = F2,b5
!Cv7(b5) = Gbv,7(^b5)
!Cv7(b5) = Gbv,7(^b5)
Line 483: Line 625:
!CvM9,v#11
!CvM9,v#11
|-
|-
!example notes
!C vE Bb
!C vE Bb
!C F G vB
!C F G vB
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|-
|-
!ratio of the 5th
!ratio of the 5th
!----
!------
!P5 = 3/2
!P5 = 3/2
!d5 = 7/5
!d5 = 7/5
Line 511: Line 652:
!vM7 = 15/8
!vM7 = 15/8
!vm7 = 7/4
!vm7 = 7/4
!----
!------
!----
!------
!vM7 =15/8
!vM7 =15/8
|-
|-
!other ratios
!other
!----
!------
!----
!------
!----
!------
!----
!------
!d5 = 7/5
!d5 = 7/5
!v#11 = 14/5
!v#11 = b12 = 14/5
|-
|-
|'''<u>close voicing</u> R 3 5 7 (8)'''
| colspan="7" |'''<u>close voicing</u> R 3 5 7 (8)'''
| colspan="6" |
|-
|-
|frets
|frets
Line 543: Line 683:
|3 4 2 2 1 1
|3 4 2 2 1 1
|-
|-
|'''<u>high-3 voicing</u> R 5 7 (8) 3'''
| colspan="7" |'''<u>high-3 voicing</u> R 5 7 (8) 3'''
| colspan="6" |
|-
|-
|frets
|frets
Line 552: Line 691:
|4 . 1 (5) 5
|4 . 1 (5) 5
|4 . 1/3 (5) 5
|4 . 1/3 (5) 5
|4 . 3 3 5 2   (no 9th)
|4 . 3 3 5 2 (no 9th)
|-
|-
|suggested fingerings
|suggested fingerings
Line 561: Line 700:
|2 . 1 (3) 4
|2 . 1 (3) 4
|3 . 1/2 . 4
|3 . 1/2 . 4
2 . 1 (3) 4
2 . 1/3 (3) 4
|3 . 2 2 4 1
|2 . 3 3 4 1
|-
|-
|'''<u>low-5 voicing</u> 5 R 3 7'''
| colspan="7" |'''<u>low-5 voicing</u> 5 R 3 7'''
| colspan="6" |
|-
|-
|frets
|frets
Line 580: Line 718:
|1 3 4 . 2 1 1
|1 3 4 . 2 1 1
|-
|-
|'''<u>low-7 voicing</u> 7 R 3 (7)'''
| colspan="7" |'''<u>low-7 voicing</u> 7 R 3 (7)'''
| colspan="6" |
|-
|-
|frets
|frets
Line 594: Line 731:
|3 1 1 (4)
|3 1 1 (4)
|}
|}
Other 11th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 requires two guitarists.
The Ruyoyo comma implies augmented chords because 5/4, 5/4 and 9/7 add up to 2/1. There are three types of aug chord: upaug, downaug and down-halfaug. (Logically, the last one should be called down-doubledownsharp5 or down-double-up5, but those names are too long.) Each one is odd-limit 9, and each one is an inversion of the others. Another possible aug chord is 7:9:11 = up-downsharp5 = C^(v#5) = C ^E vG#. Unfortunately it's very difficult to finger.  
 
=== 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 (3/6 in the tab indicates alternating between the 3rd and 6th fret). 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 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. The best voicing is high-3-5 (R 6 3 5), but with only 6 strings, it often isn't possible. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 5 or 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.


Adding a major 9th (ratio 9/4) to any of these chords will make a wolf 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th, but can be added if the 5th is omitted. The chord becomes ambiguous. C^6,^9no5 is the same as ^Dv9no3. Cv6,v9no5 is vD^9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21, odd-limit 21.
The up-halfaug chord has ^M3 and ^^5. Its innate comma is the [[Sensamagic chords|Zozoyo]] comma, which equates the octave with 9/7 plus 6/5 plus 9/7. In 1st inversion, it's the upminor-halfaug chord C^m(^^5). In 2nd inversion, it's the up-sesquiaug chord. All three chords are odd-limit 9.


Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the odd limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord.
The updim7 and downdim7 chords are formed from stacked 6/5's and 7/6's, alternating to make 7/5's. The updim7 chord has an innate Ruyoyo comma which equates its ^d7 = 42/25 to a M6 = 27/16. Thus its odd-limit is 27. The downdim7 chord has an innate [[Mynucumic chords|Thuzozogu]] comma which equates vd7 = 49/30 with ~6 = 13/8., thus its odd-limit is 13.
{| class="wikitable"
{| class="wikitable"
!chord type
!
!up-6 or
!upaug
upmajor-6
!downaug
!down-6 or
!downhalfaug
downmajor-6
!uphalfaug
!upminor-6
!upminor-halfaug
(upminor-6 add-11)
!up-sesquiaug
!downminor-6
!updim7
!downdim7
|-
|-
!example, with homonym
! rowspan="2" |example
!C^6 = ^Avm7
!C^aug
!Cv6 = vA^m7
!Cvaug
!C^m6 = ^Avm7(b5)
!Cv(vv#5)
(C^m6,11 = F^9)
!C^(^^5)
!Cvm6 = vA^m7(b5)
!C^m(^^5)
!C^(^^#5)
!C^o7
!Cvo7
|-
|-
!example notes
!C ^E G#
!C ^E G ^A
!C vE G#
!C vE G vA
!C vE vvG#
!C ^Eb G ^A
!C ^E ^^G
!C vEb G vA
!C ^Eb ^^G
!C ^E ^^G#
!C ^Eb Gb ^Bbb
!C vEb Gb vBbb
|-
|-
!ratio of the 3rd
!3rd
!^M3 = 9/7
!^M3 = 9/7
!vM3 = 5/4
!vM3 = 5/4
!vM3 = 5/4
!^M3 = 9/7
!^m3 = 6/5
!^M3 = 9/7
!^m3 = 6/5
!^m3 = 6/5
!vm3 = 7/6
!vm3 = 7/6
|-
|-
!ratio of the 5th
!5th
!P5 = 3/2
!A5 = ^m6
!P5 = 3/2
= 8/5
!P5 = 3/2
!A5 = ^m6
!P5 = 3/2
= 8/5
!vvA5 = vm6
= 14/9
!^^5 = vm6
= 14/9
!^^5 = vm6
= 14/9
!^^A5 = vM6
= 5/3
!d5 = 7/5
!d5 = 7/5
|-
!7th
!------
!------
!------
!------
!------
!------
!^d7 = M6 = 27/16
!vd7 = ~6 = 13/8
|-
| colspan="9" |'''<u>close voicing</u> R 3 5 7 (8)'''
|-
|frets
|4 5 5 (5)
|4 4 5 (5)
|4 4 4 (5)
|4 5 4 (5)
|4 3 4 (5)
|4 5 6 (5)
|4 3 1 0
|4 2 1 -1
|-
|-
!ratio of the 6th
|fingerings
!^M6 = 12/7
|1 2 2 (2)
!vM6 = 5/3
|1 1 2 (2)
!^M6 = 12/7
|1 1 1 (2)
!vM6 = 5/3
|1 3 2 (4)
|2 1 3 (4)
|1 2 4 (3)
|4 3 2 1
|4 3 2 1
|-
|-
|'''<u>close voicing for riffing</u> R 3 5/6 (8)'''
| colspan="9" |'''<u>high-3 voicing</u> R 5 7 (8) 3'''
| colspan="4" |
|-
|-
|frets
|frets
|4 5 3/7
|4 . 5 (5) 6
|4 4 3/6
|4 . 5 (5) 5
|4 3 3/7 (5)
|4 . 4 (5) 5
|4 2 3/6
|4 . 4 (5) 6
|4 . 4 (5) 4
|4 . 6 (5) 6
|4 . 1 0 4
|4 . 1 -1 3
|-
|fingerings
|1 . 2 (2) 3
|1 . 2 (2) 2
|1 . 1 (2) 2
|1 . 1 (2) 3
|1 . 2 (4) 3
|1 . 3 (2) 4
|3 . 2 1 4
|3 . 2 1 4
|-
| colspan="9" |'''<u>low-5 voicing</u> 5 R 3 7'''
|-
|
|see vaug
|see v(vv#5)
|see ^aug
|see ^(^^#5)
|see ^(^^5)
|see ^m(^^5)
|(difficult)
|(difficult)
|}
'''Additional chords:'''
{| class="wikitable"
|+
!
!
!frets
!homonym
!
!odd-limit
!comma
!notes
|-
|-
|suggested fingerings
|
|2 3 1/4
|
|2 3 1/4
|
|2 1 1/4 (3)
|
|3 1 2/4
|
|
|
|
|-
|-
|'''<u>close no-5th voicing</u> R 3 6 8'''
|^m,6
| colspan="4" |
|upmin,add6
|
|^dim7(P5)
|
|9
|
|
|-
|-
|homonyms
|vm,~6
|C^6no5 = ^Avm
|downmin,mid6
|Cv6no5 = vA^m
|
|C^m6no5 = ^Avdim
|vdim7(P5)
|Cvm6no5 = vA^dim
|
|9
|
|
|-
|-
|frets
|vM7(b5)
|4 5 7 5
|downmaj7flat5
|4 4 6 5
|
|4 3 7 5
|
|4 2 6 5
|
|vM7 = 15/8
|
|
|-
|-
|suggested fingerings
|vM9(b5)no3
|1 2 4 3
|
|1 1 3 2
|
|2 1 4 3
|vM7(2,b5)
|2 1 4 3
|
|vM7 = 15/8
|
|
|-
|-
|'''<u>low-6 voicing</u> 6 R 3 5 (11)'''
|vM7,4
| colspan="4" |
|downmaj7add4
|
|
|
|"
|
|(SE Asian scale)
|-
|-
|frets
|vM7(b5)
|6 4 5 3
|downmaj7flat5
|5 4 4 3
|
|6 4 3 3 . (7)
|
|5 4 2 3
|
|"
|
|
|-
|-
|suggested fingerings
|v7,v#11
|4 2 3 1
|down7down#11
|4 2 3 1
|
|4 2 1 1
|v7,b5
3 2 1 1 . (4)
|down7addflat5
|4 3 1 2
|"
|
|
|-
|-
|'''<u>low-5 voicing</u> 5 R 3 6'''
|vM7,vm10
| colspan="4" |
|
|4 4 3 3 3
|
|
|
|
|
|-
|-
|frets
|vm,vM7
|2 4 5 7
|downmin-maj
|2 4 4 6
|4 x 3 3 3
|2 4 3 7
|
|2 4 2 6
|
|
|
|
|-
|-
|suggested fingerings
|^m,^M7
|1 2 3 4
|upmin-maj
|1 2 3 4
|
|1 3 2 4
|
|1 3 1 4
|
|^M7 = 27/14
|
|
|-
|-
|'''<u>high-3-5 voicing</u> R 6 (8) 3 5'''
|^(b5) and ^7(b5)
| colspan="4" |
|
|
|
|
|~2 = 12/11
|
|
|-
|-
|frets
|6/9no3
|4 . 7 . 6 4
|6add9no3
|4 . 6 (5) 5 4
|
|4 . 7 (5) 4 4
|6(2)
|4 . 6 (5) 3 4
|6sus2
|M6 = 27/16
|
|
|-
|-
|suggested fingerings
|vM7,v#11no3
|1 . 4 . 3 2
|
1 . 4 . 3 1
|
|1 . 4 . 3 2
|
1 . 4 (2) 3 1
|
|1 . 4 (2) 1 1
|
|?????
|
|
|}
|}
11-limit and 13-limit chords haven't been researched yet. 5:8:11 and 6:8:11 are playable.


== Translating 12-edo Songs to 41-edo ==
== Translating 12-edo Songs to 41-edo ==
Retrieved from "https://en.xen.wiki/w/Kite_Guitar"