Kite Guitar translations by Kite Giedraitis: Difference between revisions
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== Killing Me Softly (Roberta Flack) == | == Killing Me Softly (Roberta Flack) == | ||
Absolute notation: | |||
<tt> | |||
chorus: | chorus: E^m7 A^m7 Dv7 ^Gv GvM7 | ||
E^m7 Av6 Dv7 ^Cv7 | |||
^Gv6 ^Cv7 ^FvM7(b5) / | |||
Ev N.C. | |||
verse: | verse: A^m7 Dv7 ^Gv ^GvM7 ^CvM7 | ||
A^m7 Dv7 E^m7 / | |||
A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | |||
</tt> | |||
chorus: | Relative notation: | ||
<tt> | |||
chorus: I^m7 IV^m7 bVIIv7 ^bIIIv ^bVIvM7 | |||
I^m7 IVv6 bVIIv7 ^bVIv7 | |||
^bIIIv6 ^bVIv7 ^bIIvM7(b5) / | |||
Iv N.C. | |||
verse: | verse: IV^m7 bVIIv7 ^bIIIv ^bIIIvM7 ^bVIv | ||
IV^m7 bVIIv7 I^m7 / | |||
IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7 | |||
</tt> | |||
The ^FvM7(b5) chord can be | This song pumps the meantone comma 81/80, resulting in pitch shifts whenever a D chord is followed by an ^G chord. D shifts to ^D, but this shift can be masked by voicing the D an octave below the ^D. Stylistically, the ^Gv chord should be an ^GvM7 chord, but this creates another shift, vF# to F#. This shift is masked by delaying the F# note, in other words adding the 7th halfway through the ^Gv chord's duration. Thus the ^GvM7 chord is a passing chord. In the chorus, the bass line can use the 7th to walk down: ^G F# E. | ||
The ^FvM7(b5) chord can be voiced 1-3-5-7 or 1-5-7-3. Alternatively, it could be a vM9v#11 chord voiced 1-3-5-7-9-11 and fretted e.g. 4 4 3 3 2 2. | |||
The melody uses the scale E vF# ^G A B ^C D E except for:<br> | The melody uses the scale E vF# ^G A B ^C D E except for:<br> | ||
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Verse, 5th line "was" and "young" are vB<br> | Verse, 5th line "was" and "young" are vB<br> | ||
Verse, 6th line, "to my" is vD#<br> | Verse, 6th line, "to my" is vD#<br> | ||
Alternatively, "was" and "young" could be plain B, and the Dv6 chord could be Dv7. But then the B and ^C in the melody might perhaps clash too much with the vC in the chord. | |||
The v6 chords can be voiced 1-3-6-8. Without the 5th, the chord tends to "flip" to an ^m triad 1st inversion. But two things help reinforce it as a v6no5 chord: the doubling of the root at the octave, and the context of previous chord changes. | |||
On a 6-string, with the tonic at the 5th string, 1st dot: | |||
<tt> | |||
I^m7 . 4 . 3 2 4 | |||
IV^m7 . 4 6 5 . 4 | |||
VIIv7 7 . 6 4 8 . | |||
^bIIIv . . 3 3 2 4 | |||
^bIIIvM7 . . 3 3 2 2 | |||
IVv6 . . 6 6 8 7 | |||
^bVIv7 4 . 3 1 5 . | |||
^bIIIv6 . . 3 3 5 4 | |||
^bIIvM7(b5) . 6 . 3 5 7 | |||
^bVIvM7 4 . 3 3 5 . (or 4 . 3 3 5 4) | |||
VIIv6 7 . 9 8 8 . | |||
Vv,^7 2 . 1 0 3 2 | |||
</tt> | |||
== Hotel California (The Eagles) == | == Hotel California (The Eagles) == | ||