Kite Guitar translations by Kite Giedraitis: Difference between revisions

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[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds.

[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds. Tetradic songs use mostly tetrads and end on a tetrad, triadic songs use mostly triads and end on a triad.

== Tetradic Songs ==

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The famous melody is not written out, but for each chord, each note (i. e. pitch) of the melody is written once only. For example, the "Tall and tan and young and lovely" line has the melody 9 7 7 6 9 7 7 7, but only the notes 9 7 and 6 are shown. The melody notes are shown in 3 ways: a (string, fret) format that shows where it's played on guitar, the note's interval from the tonic, and the note's interval from the current chord's root.

The A part has an 81/80 comma issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. If a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.

The A part has a [[81/80|Meantone comma]] issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. If a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.

In the B part, this translation has the song pumping the [[32805/32768|Layo]] comma, causing it to travel around the fingerboard quite a bit. The melody strays quite far from the original key, using e.g. ^5 and ^8. These notes seem far less offensive in the B part than in the A part, because there is no I chord in the entire B part.

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Relative notation:

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IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7

</tt>This song pumps the [[81/80|Meantone comma]], 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. Alternatively, the D chords could become vD chords, but this would create other pitch shifts.

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=== Mizarian Porcupine Overture (Herman Miller, microtonal) ===

Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. The last 30 seconds of this piece is a famous example of a Porcupine ~~aka Triyo~~ comma pump. The comma is rapidly pumped three times.

Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. The last 30 seconds of this piece is a famous example of a [[250/243|Triyo (Porcupine)]] comma pump. The comma is rapidly pumped three times.

http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding.mp3 (1999 version)<br>

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<br>

</tt>

@@ Line 1: / Line 1: @@
-[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds.
+[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds. Tetradic songs use mostly tetrads and end on a tetrad, triadic songs use mostly triads and end on a triad.
 == Tetradic Songs ==
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 The famous melody is not written out, but for each chord, each note (i. e. pitch) of the melody is written once only. For example, the "Tall and tan and young and lovely" line has the melody 9 7 7 6 9 7 7 7, but only the notes 9 7 and 6 are shown. The melody notes are shown in 3 ways: a (string, fret) format that shows where it's played on guitar, the note's interval from the tonic, and the note's interval from the current chord's root.
-The A part has an 81/80 comma issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. If a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.
+The A part has a [[81/80|Meantone comma]] issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. If a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.
 In the B part, this translation has the song pumping the [[32805/32768|Layo]] comma, causing it to travel around the fingerboard quite a bit. The melody strays quite far from the original key, using e.g. ^5 and ^8. These notes seem far less offensive in the B part than in the A part, because there is no I chord in the entire B part.
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+<br>
 </tt>
 Relative notation:
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             IV^m7        bVIIv6     ^bIIIv ^bIIIvM7  Vv,^7
 </tt>This song pumps the [[81/80|Meantone comma]], 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. Alternatively, the D chords could become vD chords, but this would create other pitch shifts.
@@ Line 1,050: / Line 1,052: @@
 === Mizarian Porcupine Overture (Herman Miller, microtonal) ===
-Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. The last 30 seconds of this piece is a famous example of a Porcupine aka Triyo comma pump. The comma is rapidly pumped three times.
+Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. The last 30 seconds of this piece is a famous example of a [[250/243|Triyo (Porcupine)]] comma pump. The comma is rapidly pumped three times.
 http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding.mp3 (1999 version)<br>
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+<br>
 <br>
 </tt>