Kite Guitar translations by Kite Giedraitis: Difference between revisions
No edit summary |
added "Killing Me Softly", rearranged the order of the songs |
||
| Line 114: | Line 114: | ||
| | | | ||
^Cv7 / ^Gv7 / | ^Cv7 / B4 B^7 | ^Cv7 / ^Gv7 / | ^Cv7 / B4 B^7 | ||
^Gv7 ^Dv7 E^m7 ^Gv7 | ^Cv7 B^7 A^9 ^Cv7 | ^Gv7 ^Dv7 E^m7 ^Gv7 | ^Cv7 B^7 A^9 ^Cv7 | ||
| | | | ||
| Line 121: | Line 122: | ||
E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda) | E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda) | ||
</tt> | |||
In relative notation: | In relative notation: | ||
<tt> | <tt> | ||
| Line 137: | Line 133: | ||
| | | | ||
^bVIv7 / ^bIIIv7 / | ^bVIv7 / V4 V^7 | ^bVIv7 / ^bIIIv7 / | ^bVIv7 / V4 V^7 | ||
^bIIIv7 ^bVIIv7 I^m7 ^bIIIv7 | ^bVIv7 V^7 IV^9 ^bVIv7 | ^bIIIv7 ^bVIIv7 I^m7 ^bIIIv7 | ^bVIv7 V^7 IV^9 ^bVIv7 | ||
| | | | ||
| Line 448: | Line 445: | ||
== Kusuva Musha (mbira) == | == Killing Me Softly (Roberta Flack) == | ||
</tt> | |||
chorus: E^m7 A^m7 Dv7 ^GvM7 | |||
E^m7 Av6 Dv7 ^Cv7 | |||
^Gv6 ^Cv7 ^FvM7(b5) ⋅/⋅ | |||
Ev N.C. | |||
verse: A^m7 Dv7 ^Gv ^CvM7 | |||
A^m7 Dv7 E^m7 ⋅/⋅ | |||
A^m7 Dv6 ^GvM7 Bv,^7 | |||
</tt> | |||
</tt> | |||
chorus: I^m7 IV^m7 bVIIv7 ^bIIIvM7 | |||
I^m7 IVv6 bVIIv7 ^bVIv7 | |||
^bIIIv6 ^bVIv7 ^bIIvM7(b5) ⋅/⋅ | |||
Iv N.C. | |||
verse: IV^m7 bVIIv7 ^bIIIv ^bVIvM7 | |||
IV^m7 bVIIv7 I^m7 ⋅/⋅ | |||
IV^m7 bVIIv6 ^bIIIvM7 Vv,^7 | |||
</tt> | |||
The ^FvM7(b5) chord can be fingered 4 4 1 3 or 4 . 1 3 5. Alternatively, it could be a vM9v#11 chord 4 4 3 3 2 2. | |||
The melody uses the scale E vF# ^G A B ^C D E except for:<br> | |||
Chorus, "Telling my whole life with his words", "life" and "his" are ^D<br> | |||
Verse, 2nd line "heard" is ^D<br> | |||
Verse, 4th line "listen" 2nd syllable is F#<br> | |||
Verse, 5th line "was" and "young" are vB<br> | |||
Verse, 6th line, "to my" is vD#<br> | |||
== Hotel California (The Eagles) == | |||
The song doesn't pump any commas, because there are no common notes between the last few chords. There are two approaches to translating the verse. One way avoids pitch shifts between adjacent chords: | |||
<tt> | |||
I^m Vv ^bVIIv ^IVv | |||
^^bVIv ^^bIIIv ^IV^m Vv7 | |||
</tt> | |||
This arrangement travels down the neck, only to rapidly climb back up in the last two measures. The melody strays from the key. | |||
Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords. The shift can be lessened by bending the entire VII chord sharp a third-fret, and bending the next chord sharp a sixth-fret.<tt> | |||
I^m Vv bVIIv IVv | |||
^bVIv ^bIIIv IV^m Vv7 | |||
</tt> | |||
The chorus is straightforward: | |||
<tt> | |||
^bVIv ^bIIIv Vv7 I^m | |||
^bVIv ^bIIIv IV^m Vv7 | |||
</tt> | |||
== Stairway To Heaven intro (Led Zeppelin) == | |||
This piece is harmonically quite simple, entirely 5-limit. Included because it's the classic guitar show-off piece! This translation is note for note, except the voicing of the final ^bVIIv chord is changed from 1 8 10 15 to 8 10 12 15. No comma issues, except for the ^bVIIv - IV4 chord change. The IV4 chord is very brief, so the ^b7 to b7 pitch shift isn't too problematic. Or perhaps bend the b7 up half a fret or so, to match the previous ^b7, makes the chord be IV(^4). | |||
Tablature in ^A for 6-string guitar, h = hammer on, p = pull off | |||
<tt> | |||
I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m | |||
- - - - 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - - | |||
- - - 21 - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - - | |||
- - 19 - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - - | |||
- 19 - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - 7* 5 | |||
20 - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - - | |||
- - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - 6 - - | |||
*slide up to this note | |||
I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m | |||
- - - 6 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - - | |||
- - 6 - - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - - | |||
- 7 - - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - - | |||
- - - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - - - | |||
- - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - 3 | |||
6 - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - - 6 - | |||
^bIIIv IVv ^bVIvM7 I^m ^bIIIv ^bVIIv IV4 IVv | |||
- - - - 9 - - 9 6 - - 6 - - - - - - - - - - - - 11* 9 9 - - - - - | |||
- - - 6 - 9 - - - 6 - - 4h6- - - 6 - - 6 18 - - 18 9 9 9 - - - - - | |||
- - 4 - - - 7 - - - 7 - - 7 - - - 4 - - - 16 - - 7 7 7 - - - - - | |||
- 5 - - - - - - 7 - - - - - - - - - 5 - - - 17 - - - - - - - - - | |||
5 - - - 8 - - - - - - - - - - 3 5 - - - 17 - - - 8 - 8 - - - - 3 | |||
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - 6 - | |||
*11p9 (pull-off) | |||
^bIIIv IVv ^bVIvM7 I^m ^bIIIv IVv ^bVIvM7 | |||
- - - - 9 - - 9 6 - - 6 - - - - - - - - - - - 9 6 6 6 - - - - - | |||
- - - 6 - 9 - - - 6 - - 4h6- - - - - - 6 - - 9 - 6 6 6 - - - - - | |||
- - 4 - - - 7 - - - 7 - - 7 - - - - 4 - - 7 - - 7 7 7 - - - - - | |||
- 5 - - - - - - 7 - - - - - - - - 5 - - - - - - 7 7 7 - - - - - | |||
5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - - | |||
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - - | |||
</tt> | |||
== Greensleeves (traditional) == | |||
The 2nd chord in the first two lines, ^bVIIv, is an optional passing chord. The V7 chord is translated as Vv,^m7, because Vv7 sounds inappropriate for Renaissance music. The chord is voiced 1-5-7-10, and the interval from the 7th up to the 10th is a mid 4th. 41-edo flattens this 25/18 interval nearly down to 11/8. Somehow 11/8 sounds less out of place than 10/7! The melody uses the up 4th, to match this chord and also the ^bVIIv chord. The plain 4th is only used as part of the IV^m chord. | |||
The 3rd note of both the 3rd quarter and the 4th quarter of the song ("Greensleeves '''was''' my") is controversial. Some say it's a major 6th, some say minor. In the tabs, both possibilities are shown. | |||
<tt> | |||
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv IV^m | Vv / | |||
| | | | |||
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | |||
| | | | |||
^bIIIv / | ^bVIIv V^m | ^bVIv IV^m | Vv / | |||
| | | | |||
^bIIIv / | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | |||
</tt> | |||
It's hard to match the usual 12-edo guitar version with just 6 strings. 8 strings is really needed for that. | |||
6-string tab in F minor: | |||
<tt> | |||
Ivm ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . 2 . | 5 . . 7 5 . | 2 . . . . . | . . . . . . | | |||
| 5 . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | | |||
6 . | . . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | |||
| 4 . . . . . | . . . . . . | 1 . . . . . | 4 . . . . . | | |||
| . . . . . . | 4 . . . . . | . . . . . . | 2 . . . . . | | |||
^bVIv IV^m Vv | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
| 6 . . . 6 . | 6 . . 4 6 . | 4 . . . 4 . | . . . . 6 . | | |||
| 6 . . . . . | 6 . . . . . | 4 . . . . . | 4 . . . . . | | |||
| 4 . . . . . | 7 . . . . . | . . . . . . | 2 . . . . . | | |||
Ivm ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . 2 . | 5 . . 7 5 . | 2 . . . . . | . . . . . . | | |||
| 5 . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | | |||
| . . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | |||
| 4 . . . . . | . . . . . . | 1 . . . . . | 4 . . . . . | | |||
| . . . . . . | 4 . . . . . | . . . . . . | 2 . . . . . | | |||
^bVIv Vv,^m7 I^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . 3 . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . . 6 . | 4 . . 1 4 . | 6 . . . . . | 6 . . . . . | | |||
| 6 . . . . . | 1 . . . . . | 4 . . . 4 . | . . . . . . | | |||
| 4 . . . . . | 2 . . . . . | 4 . . . . . | . . . . . . | | |||
^bIIIv ^bVIIv V^m | |||
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or | |||
| 5 . . . . . | . . . 7* 5 . | 2 . . . . . | . . . . . . | the other, | |||
| . . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | not both | |||
| 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | |||
| . . . . . . | 4 . . . . . | 1 . . . . . | 4 . . . . . | | |||
| 4 . . . . . | . . . . . . | . . . . . . | 2 . . . . . | | |||
^bVIv IV^m Vv | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
| 6 . . . 6 . | 6 . . 4 6 . | 4 . . . 4 . | . . . . 6 . | | |||
| 6 . . . . . | 6 . . . . . | 4 . . . . . | 4 . . . . . | | |||
| 4 . . . . . | 7 . . . . . | . . . . . . | 2 . . . . . | | |||
^bIIIv ^bVIIv V^m | |||
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * see above | |||
| 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | |||
| 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | |||
| . . . . . . | . . . . . . | 1 . . . . . | 4 . . . . . | | |||
| 4 . . . . . | 4 . . . . . | . . . . . . | 2 . . . . . | | |||
^bVIv Vv,^m7 I^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . 3 . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . . 6 . | 4 . . 1 4 . | 6 . . . . . | 6 . . . . . | | |||
| 6 . . . . . | 1 . . . . . | 4 . . . 4 . | . . . . . . | | |||
| 4 . . . . . | 2 . . . . . | 4 . . . . . | . . . . . . | | |||
</tt> | |||
8-string tab in vA upminor: | |||
<tt> | |||
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . 2 . | 5 . . 7 5 . | 2 . . . . . | . . . . . . | | |||
| 5 . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | | |||
6 . | . . . . (3) . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | |||
| . . 4 . . . | . . . . . . | . . 1 . . . | 4 . . . . . | | |||
| . . . . (2) . | 4 . . . . . | . . . . . . | . . 2 . . . | | |||
| 5 . . . . . | . . . . . . | 2 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | 3 . . . . . | | |||
^bVIv IV^m Vv | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
| 6 . . . 6 . | 6 . . 4 6 . | 4 . . . 4 . | . . . . 6 . | | |||
| . . . . . . | 6 . . . . . | . . . . . . | 4 . . . . . | | |||
| . . 4 . . . | . . 7 . . . | . . 2 . . . | . . 2 . . . | | |||
| . . . . . . | 5 . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . 2 . | 5 . . 7 5 . | 2 . . . . . | . . . . . . | | |||
| 5 . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | | |||
| . . . . (3) . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | |||
| . . 4 . . . | . . . . . . | . . 1 . . . | 4 . . . . . | | |||
| . . . . (2) . | 4 . . . . . | . . . . . . | . . 2 . . . | | |||
| 5 . . . . . | . . . . . . | 2 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | 3 . . . . . | | |||
^bVIv Vv,^m7 I^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . 3 . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . . 6 . | 4 . . 1 4 . | 6 . . . . . | 6 . . . . . | | |||
| . . . . . . | 1 . . . . . | 4 . . . 4 . | . . . . . . | | |||
| . . 4 . . . | . . 2 . . . | . . 4 . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | 5 . . . . . | 5 . . . . . | | |||
| 5 . . . . . | 3 . . . . . | . . . . . . | . . . . . . | | |||
^bIIIv ^bVIIv V^m | |||
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or | |||
| 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | the other, | |||
| . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | not both | |||
| . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | |||
| . . . . . . | . . . . . . | . . 1 . . . | 4 . . . . . | | |||
| 4 . . . . . | 4 . . . . . | . . . . . . | . . 2 . . . | | |||
| . . . . . . | . . . . . . | 2 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | 3 . . . . . | | |||
^bVIv IV^m Vv | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
| 6 . . . 6 . | 6 . . 4 6 . | 4 . . . 4 . | . . . . . . | | |||
| . . . . . . | 6 . . . . . | . . . . . . | 4 . . . . . | | |||
| . . 4 . . . | . . 7 . . . | . . 2 . . . | . . 2 . . . | | |||
| . . . . . . | 5 . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
^bIIIv ^bVIIv V^m | |||
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * see above | |||
| 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | | |||
| . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | |||
| . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | |||
| . . . . . . | . . . . . . | . . 1 . . . | 4 . . . . . | | |||
| 4 . . . . . | 4 . . . . . | . . . . . . | . . 2 . . . | | |||
| . . . . . . | . . . . . . | 2 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | 3 . . . . . | | |||
^bVIv Vv,^m7 I^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . 3 . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . . 6 . | 4 . . 1 4 . | 6 . . . . . | 6 . . . . . | | |||
| . . . . . . | 1 . . . . . | 4 . . . 4 . | . . . . . . | | |||
| . . 4 . . . | . . 2 . . . | . . 4 . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | 5 . . . . . | 5 . . . . . | | |||
| 5 . . . . . | 3 . . . . . | . . . . . . | . . . . . . | | |||
</tt> | |||
== Kusuva Musha (traditional mbira) == | |||
Kite's arrangement of a traditional mbira dzavadzimu song. Simple 5-limit harmonies, except for the 10/7 in the vB chord. But tricky circular rhythms with lots of 3-against-4. The harmonies are circular too. The key is simultaneously C downmajor down-2 and F downlydian down-4. (As with chords, the "down" before the mode name lowers the 3rd, 6th and 7th, but not the tonic, 2nd, 4th or 5th.) The guitar part is a 3-voice canon, with the 3 voices separated by diatonic 3rds. The highest voice is on the beat, as is the bass. | Kite's arrangement of a traditional mbira dzavadzimu song. Simple 5-limit harmonies, except for the 10/7 in the vB chord. But tricky circular rhythms with lots of 3-against-4. The harmonies are circular too. The key is simultaneously C downmajor down-2 and F downlydian down-4. (As with chords, the "down" before the mode name lowers the 3rd, 6th and 7th, but not the tonic, 2nd, 4th or 5th.) The guitar part is a 3-voice canon, with the 3 voices separated by diatonic 3rds. The highest voice is on the beat, as is the bass. | ||
| Line 605: | Line 890: | ||
== I Hear Numbers (Tall Kite) == | == I Hear Numbers (Tall Kite, microtonal) == | ||
Based on the keyboard part, not the electric guitar part. | Based on the keyboard part, not the electric guitar part. | ||
| Line 722: | Line 1,007: | ||
</tt> | </tt> | ||
== Mizarian Porcupine Overture (Herman Miller, microtonal) == | == Mizarian Porcupine Overture (Herman Miller, microtonal) == | ||