Kite Guitar translations by Kite Giedraitis: Difference between revisions
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A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | ||
</tt> | </tt> | ||
Relative notation: | Relative notation: | ||
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IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7 | IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7 | ||
</tt> | </tt>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. | ||
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 | The ^FvM7(b5) chord could alternatively be an ^FvM9v#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: | |||
* Chorus, "Telling my whole life with his words", "life" and "his" are ^D | |||
* Verse, 2nd line "heard" is ^D | |||
* Verse, 4th line "listen" 2nd syllable is F# | |||
* Verse, 5th line "was" and "young" are vB | |||
* Verse, 6th line, "to my" is vD# | |||
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. | 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. | 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: | On a 6-string, with the tonic at the 5th string, 1st dot:<tt> | ||
<tt> | |||
I^m7 . 4 . 3 2 4 | I^m7 . 4 . 3 2 4 | ||
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| ^IVv ^IVv/3 VIv | IIv V^m Vv | | | ^IVv ^IVv/3 VIv | IIv V^m Vv | | ||
</tt> | </tt> | ||