Kite Guitar translations by Kite Giedraitis: Difference between revisions

   

  FvM7      Bvm7(b5)  Esus4    Ev7

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In relative notation:

   

           A^m7        Dv6        ^Gv ^GvM7    Bv,^7

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Relative notation:

   

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

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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.

   

   Vv,^7      2 . 1 0 3 2

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   |                          |                        |

   |  ^IVv  ^IVv/3    VIv    |  IIv    V^m    Vv    |

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The score below is written out for the (P8,P4/3) pergen, with an enharmonic of v³A1, and vvE equal to ^Eb. But in 41edo, vvE instead equals ^^Eb, and a pitch shift is inevitable. In this translation, the tied note in the 2nd measure (and the 6th measure) shifts downward a half-fret. But the 4th chord passes by so quickly, the shift is hardly noticeable.