Kite Guitar: Difference between revisions
Integrated the scales section into the fretboard diagrams section. Added 4 flat-9 chords and also 9 chords with a mid-5th. |
|||
| Line 126: | Line 126: | ||
This shows all the notes, not just the natural ones. But it's too much work to memorize all this. Just learn where the 7 natural notes are, and learn your intervals. Since the open strings don’t work as well, one tends to think more in terms of intervals than notes. | This shows all the notes, not just the natural ones. But it's too much work to memorize all this. Just learn where the 7 natural notes are, and learn your intervals. Since the open strings don’t work as well, one tends to think more in terms of intervals than notes. | ||
[[File:The Kite Tuning 5.png|none|thumb|1037x1037px]] | [[File:The Kite Tuning 5.png|none|thumb|1037x1037px]] | ||
=== Scale Shapes === | |||
Printer-friendly chart of scale degrees:[[File:Scale chart.png|thumb|none]]Here are the three main scales. Some scale degrees appear more than once. In general, use the one that agrees with the current chord. | |||
[[File:Scale chart 2.png|none|thumb]] | |||
== Relative and Absolute Tab == | == Relative and Absolute Tab == | ||
| Line 171: | Line 175: | ||
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, and of course any fret of that 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, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords. | ||
In general, an odd-limit 15 chord has only one 15-limit interval, and most of the others are much lower odd-limit. For example, the downmajor seven chord has intervals of odd-limit 3, 3, 5, 5, 5 and 15. The many low-limit intervals serve as "glue" to hold together the chord, despite the one 15-limit interval. This is the rationale for focusing on odd-limit 15 chords here and not those of odd-limit 11 or 13, for those chords | In general, an odd-limit 15 chord has only one 15-limit interval, and most of the others are much lower odd-limit. For example, the downmajor seven chord has intervals of odd-limit 3, 3, 5, 5, 5 and 15. The many low-limit intervals serve as "glue" to hold together the chord, despite the one 15-limit interval. This is the rationale for focusing on odd-limit 15 chords here and not those of odd-limit 11 or 13, for those chords have multiple intervals of high odd-limit. But see below, at the very end of this section. | ||
Don't get overwhelmed! The most essential chords are in the first two tables (triads and seventh chords). Here's a printer-friendly chart to get you started: | These tables are fairly exhaustive. Don't get overwhelmed! The most essential chords are in the first two tables (triads and seventh chords). Here's a printer-friendly chart to get you started: | ||
[[File:Chord chart.png|thumb|none]] | [[File:Chord chart.png|thumb|none]] | ||
| Line 466: | Line 470: | ||
|2 4 2 . 1 | |2 4 2 . 1 | ||
|} | |} | ||
Flat-nine chords are possible. The plain minor 9th is 21/10, which is the sum of 7/5 and 3/2, thus a m9 works with either a perfect or diminished 5th. Examples: | |||
* the upminor-7 flat-9 chord = C^m7,b9 = C ^Eb G ^Bb Db = 4 3 3 2 0 | |||
* the upminor-7 flat-5 flat-9 chord = C^m7(b5)b9 = C ^Eb Gb ^Bb Db = 4 3 1 2 0 | |||
* the downminor-7 flat-9 chord = Cvm7,b9 = C vEb G vBb Db = 4 2 3 1 0 | |||
* the downminor-7 flat-5 flat-9 chord = Cvm7(b5)b9 = C vEb Gb vBb Db = 4 2 1 1 0 | |||
The upminor 9th (15/7) is also possible, but hard to play, Eample: the downmajor-7 upflat-9 chord = CvM7,^b9 = C vE G vB ^Db.Note that ^Db is enharmonically equivalent to C#, the augmented 8ve. Thus this chord's homonym is vE^m6/C. | |||
=== Sixth chords === | === Sixth chords === | ||
| Line 602: | Line 612: | ||
=== Innate-comma chords === | === Innate-comma chords === | ||
We've covered every chord that maps to a JI chord of intervallic odd-limit 9. However there are many Kite guitar chords that don't, although their individual intervals do. These chords are called [[Dyadic chord|innate-comma chords aka essentially tempered chords]]. Almost every easily reachable interval on the fretboard is odd-limit 9. The only exceptions are ~4, ~5, vM7, ^M7, vm9 and ^m9. Thus the majority of Kite guitar chord shapes are intervallic odd-limit 9. | |||
For example, the downadd7no5 chord has 5/4 and 16/9. 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. | For example, the downadd7no5 chord has 5/4 and 16/9. 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. | ||
| Line 858: | Line 868: | ||
|(difficult) | |(difficult) | ||
|} | |} | ||
At the beginning of this section on chord shapes, chords of prime-limit 11 or 13 were dismissed because "those chords have multiple intervals of high odd-limit." But when innate-comma chords are allowed, this no longer holds true. For example, the mid-5th can be interpreted as either 16/11 or 13/9. Each of the following chords contain this interval, but all the other intervals in the chord is at most odd-limit 5, 7 or 9, depending on the chord. The one exception is the vM7(~5) chord, odd-limit 15. | |||
= | * the downminor mid-5 chord = Cvm(~5) = C vEb vvG = 4 2 2 | ||
* the downminor-7 mid-5 chord = Cvm7(~5) = C vEb vvG vBb = 4 2 2 1 or 4 . 2 1 3 | |||
* the down up-six chord = Cv,^6 = C vE G ^A = 4 . 7 . 5 4, a homonym of ^Avm7(~5) | |||
* the upminor mid-5 chord = C^m(~5) = C ^Eb ^^Gb = 4 3 2 | |||
* the upminor-7 mid-5 chord = C^m7(~5) = C ^Eb ^^Gb ^Bb = 4 3 2 2 or 4 . 2 2 4 | |||
* the upminor down-6 chord = C^m,v6 = C ^Eb G vA, a homonym of vA^m7(~5) | |||
* the downmajor mid-5 chord = Cv(~5) = C vE vvG = 4 4 2 | |||
* the downmajor-7 mid-5 chord = CvM7(~5) = C vE vvG vB = 4 4 2 3 or 4 . 2 3 5 | |||
Note that the mid-5th is spelled as a double-up dim 5th from the chord root (^^Gb) if the 3rd is upped, but as a double-down 5th (vvG) if the 3rd is downed. This avoids the interval from the 3rd to the 5th being spelled with a triple up or down. | |||
== Translating 12-edo Songs to 41-edo == | == Translating 12-edo Songs to 41-edo == | ||