Kite Guitar translations by Kite Giedraitis: Difference between revisions
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Rearranged the order of the songs. |
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<tt><tt><tt><tt><tt><tt><tt><tt><tt><tt><tt><tt><tt><tt></tt><tt>[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds. Triadic songs use mostly triads and end on a triad, tetradic songs use mostly tetrads and end on a tetrad. The distinction is somewhat arbitrary, especially since sometimes in the course of translation triads become tetrads. The triadic songs tend to be [[5-limit]], and the tetradic ones tend to be [[7-limit]] or higher. | |||
== Triadic Songs == | |||
=== Fast Car (Tracy Chapman) === | |||
For 6 strings. Key is ^^F. Capo on the 6th fret for the key A. Main riff: | |||
<tt> | |||
- - - 0 | - 0 - - | - - - - | - - - - | |||
1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - | |||
1 - 1 1 | - - - - | - - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
2 - - - | - - 14 - | 14 - - 14 | - - 14 - | |||
- - - 0 | - - - - | 15 - - 12 | - - - - | |||
</tt> | |||
This lacks the droning open string sound of the original. The solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. <b>Bolded</b> notes are capo'ed: | |||
<tt> | |||
- - - 0 | - 0 - - | - - - - | - - - - | |||
<b>1</b> 3 <b>1</b> - | - - - - | 15 (18) 15 13 | - 13 - - | |||
<b>1</b> - <b>1</b> <b>1</b> | - - <b>1</b> - | <b>1</b> - - <b>1</b> | - - <b>1</b> - | |||
- - - - | - - - - | - - - - | - - - - | |||
2 - - - | - - - - | - - - - | - - - - | |||
- - - 0 | - - - - | 15 - - 12 | - - - - | |||
</tt> | |||
Chords for the strumming part: | |||
<tt><tt> | |||
IVv . 2 . 1 3 3 | |||
Iv 0 0 . 1 1 0 | |||
vVI^m . 0 2 1 1 3 | |||
Vv 12 . 11 13 13 . | |||
</tt><br> | |||
=== Hotel California (The Eagles) === | |||
The song doesn't pump any commas, because there are no common notes between the last few chords. There are two approaches to translating the verse. One way avoids pitch shifts between adjacent chords: | |||
<tt> | |||
I^m Vv ^bVIIv ^IVv | |||
^^bVIv ^^bIIIv ^IV^m Vv7 | |||
</tt> | |||
This arrangement travels down the neck, only to rapidly climb back up in the last two measures. The melody strays from the key. | |||
Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords. The shift can be lessened by bending the entire VII chord sharp a third-fret, and bending the next chord sharp a sixth-fret.<tt> | |||
I^m Vv bVIIv IVv | |||
^bVIv ^bIIIv IV^m Vv7 | |||
</tt> | |||
The chorus is straightforward: | |||
<tt> | |||
^bVIv ^bIIIv Vv7 I^m | |||
^bVIv ^bIIIv IV^m Vv7 | |||
</tt> | |||
=== Stairway To Heaven intro (Led Zeppelin) === | |||
This piece is harmonically quite simple, entirely 5-limit. Included because it's the classic guitar show-off piece! This translation is note for note, except the voicing of the final ^bVIIv chord is changed from 1 8 10 15 to 8 10 12 15. No comma issues, except for the ^bVIIv - IV4 chord change. The IV4 chord is very brief, so the ^b7 to b7 pitch shift isn't too problematic. Or perhaps bend the b7 up half a fret or so, to match the previous ^b7, makes the chord be IV(^4). | |||
Tablature in A upminor for 6-string guitar, h = hammer on, p = pull off | |||
<tt> | |||
I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m | |||
- - - - 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - - | |||
- - - 21 - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - - | |||
- - 19 - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - - | |||
- 19 - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - 7* 5 | |||
20 - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - - | |||
- - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - 6 - - | |||
*slide up to this note | |||
I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m | |||
- - - 6 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - - | |||
- - 6 - - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - - | |||
- 7 - - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - - | |||
- - - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - - - | |||
- - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - 3 | |||
6 - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - - 6 - | |||
^bIIIv IVv ^bVIvM7 I^m ^bIIIv ^bVIIv IV4 IVv | |||
- - - - 9 - - 9 6 - - 6 - - - - - - - - - - - - 11* 9 9 - - - - - | |||
- - - 6 - 9 - - - 6 - - 4h6- - - 6 - - 6 18 - - 18 9 9 9 - - - - - | |||
- - 4 - - - 7 - - - 7 - - 7 - - - 4 - - - 16 - - 7 7 7 - - - - - | |||
- 5 - - - - - - 7 - - - - - - - - - 5 - - - 17 - - - - - - - - - | |||
5 - - - 8 - - - - - - - - - - 3 5 - - - 17 - - - 8 - 8 - - - - 3 | |||
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - 6 - | |||
*11p9 (pull-off) | |||
^bIIIv IVv ^bVIvM7 I^m ^bIIIv IVv ^bVIvM7 | |||
- - - - 9 - - 9 6 - - 6 - - - - - - - - - - - 9 6 6 6 - - - - - | |||
- - - 6 - 9 - - - 6 - - 4h6- - - - - - 6 - - 9 - 6 6 6 - - - - - | |||
- - 4 - - - 7 - - - 7 - - 7 - - - - 4 - - 7 - - 7 7 7 - - - - - | |||
- 5 - - - - - - 7 - - - - - - - - 5 - - - - - - 7 7 7 - - - - - | |||
5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - - | |||
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - - | |||
</tt> | |||
=== Greensleeves (traditional) === | |||
The 2nd chord in the first two lines, ^bVIIv, is an optional passing chord. The V7 chord is translated as Vv,^m7, because Vv7 sounds inappropriate for Renaissance music. The chord is voiced 1-5-7-10, and the interval from the 7th up to the 10th is a mid 4th. 41-edo flattens this 25/18 interval nearly down to 11/8. Somehow 11/8 sounds less out of place than 10/7! The melody uses the up 4th, to match this chord and also the ^bVIIv chord. The plain 4th is only used as part of the IV^m chord. | |||
The 3rd note of both the 3rd quarter and the 4th quarter of the song ("Greensleeves '''was''' my") is controversial. Some say it's a major 6th, some say minor. In the tabs, both possibilities are shown. | |||
<tt> | |||
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv IV^m | Vv / | |||
| | | | |||
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | |||
| | | | |||
^bIIIv / | ^bVIIv V^m | ^bVIv IV^m | Vv / | |||
| | | | |||
^bIIIv / | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | |||
</tt> | |||
It's hard to recreate the usual 12-edo fingerpicking version with just 6 strings. 8 strings is really needed for that. | |||
6-string tab in E upminor: | |||
<tt> | |||
Ivm ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . 1 . | 4 . . 6 4 . | 1 . . . . . | . . . . . . | | |||
| 4 . . . . . | 4 . . . . . | 2 . . . 2 . | . . . . 2 . | | |||
5 . | . . . . . . | 2 . . . . . | 2 . . . . . | 2 . . 5 . . | | |||
| 3 . . . . . | . . . . . . | 0 . . . . . | 3 . . . . . | | |||
| . . . . . . | 3 . . . . . | . . . . . . | 1 . . . . . | | |||
^bVIv IV^m Vv | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 4 . . . . . | . . . . . . | 2 . . . . . | . . . . . . | | |||
| 5 . . . 5 . | 5 . . 3 5 . | 3 . . . 3 . | . . . . 5 . | | |||
| 5 . . . . . | 5 . . . . . | 3 . . . . . | 3 . . . . . | | |||
| 3 . . . . . | 6 . . . . . | . . . . . . | 1 . . . . . | | |||
Ivm ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . 1 . | 4 . . 6 4 . | 1 . . . . . | . . . . . . | | |||
| 4 . . . . . | 4 . . . . . | 2 . . . 2 . | . . . . 2 . | | |||
| . . . . . . | 2 . . . . . | 2 . . . . . | 2 . . 5 . . | | |||
| 3 . . . . . | . . . . . . | 0 . . . . . | 3 . . . . . | | |||
| . . . . . . | 3 . . . . . | . . . . . . | 1 . . . . . | | |||
^bVIv Vv,^m7 I^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 4 . . 2 . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . . 5 . | 3 . . 0 3 . | 5 . . . . . | 5 . . . . . | | |||
| 5 . . . . . | 0 . . . . . | 3 . . . 3 . | . . . . . . | | |||
| 3 . . . . . | 1 . . . . . | 3 . . . . . | . . . . . . | | |||
^bIIIv ^bVIIv V^m | |||
| 3 . . . . . | 3 . . 1* . . | . . . . . . | . . . . . . | * play one or | |||
| 4 . . . . . | . . . 6* 4 . | 1 . . . . . | . . . . . . | the other, | |||
| . . . . . . | 4 . . . . . | 2 . . . 2 . | . . . . 2 . | not both | |||
| 2 . . . . . | 2 . . . . . | 2 . . . . . | 2 . . 5 . . | | |||
| . . . . . . | 3 . . . . . | 0 . . . . . | 3 . . . . . | | |||
| 3 . . . . . | . . . . . . | . . . . . . | 1 . . . . . | | |||
^bVIv IV^m Vv | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 4 . . . . . | . . . . . . | 2 . . . . . | . . . . . . | | |||
| 5 . . . 5 . | 5 . . 3 5 . | 3 . . . 3 . | . . . . 5 . | | |||
| 5 . . . . . | 5 . . . . . | 3 . . . . . | 3 . . . . . | | |||
| 3 . . . . . | 6 . . . . . | . . . . . . | 1 . . . . . | | |||
^bIIIv ^bVIIv V^m | |||
| 3 . . . . . | 3 . . 1* . . | . . . . . . | . . . . . . | * see above | |||
| 4 . . . . . | 4 . . 6* 4 . | 1 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | 2 . . . 2 . | . . . . 2 . | | |||
| 2 . . . . . | 2 . . . . . | 2 . . . . . | 2 . . 5 . . | | |||
| . . . . . . | . . . . . . | 0 . . . . . | 3 . . . . . | | |||
| 3 . . . . . | 3 . . . . . | . . . . . . | 1 . . . . . | | |||
^bVIv Vv,^m7 I^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 4 . . 2 . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 5 . . . 5 . | 3 . . 0 3 . | 5 . . . . . | 5 . . . . . | | |||
| 5 . . . . . | 0 . . . . . | 3 . . . 3 . | . . . . . . | | |||
| 3 . . . . . | 1 . . . . . | 3 . . . . . | . . . . . . | | |||
</tt> | |||
8-string tab in A upminor:<tt></tt> | |||
<tt> Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . 3 . | 6 . . 8 6 . | 3 . . . . . | . . . . . . | | |||
| 6 . . . . . | 6 . . . . . | 4 . . . 4 . | . . . . 4 . | | |||
7 . | . . . . (4) . | . . 4 . . . | . . . . . . | 4 . . 7 . . | | |||
| . . 5 . . . | . . . . . . | . . 2 . . . | 5 . . . . . | | |||
| . . . . (3) . | 5 . . . . . | . . . . . . | . . 3 . . . | | |||
| 6 . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | 4 . . . . . | | |||
^bVIv IV^m Vv | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . . . . | . . . . . . | 4 . . . . . | . . . . . . | | |||
| 7 . . . 7 . | 7 . . 5 7 . | 5 . . . 5 . | . . . . 7 . | | |||
| . . . . . . | 7 . . . . . | . . . . . . | 5 . . . . . | | |||
| . . 5 . . . | . . 8 . . . | . . 3 . . . | . . 3 . . . | | |||
| . . . . . . | 6 . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . . . . | . . . . . . | 4 . . . . . | . . . . . . | | |||
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . 3 . | 6 . . 8 6 . | 3 . . . . . | . . . . . . | | |||
| 6 . . . . . | 6 . . . . . | 4 . . . 4 . | . . . . 4 . | | |||
| . . . . (4) . | . . 4 . . . | . . . . . . | 4 . . 7 . . | | |||
| . . 5 . . . | . . . . . . | . . 2 . . . | 5 . . . . . | | |||
| . . . . (3) . | 5 . . . . . | . . . . . . | . . 3 . . . | | |||
| 6 . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | 4 . . . . . | | |||
^bVIv Vv,^m7 I^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . 4 . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 7 . . . 7 . | 5 . . 2 5 . | 7 . . . . . | 7 . . . . . | | |||
| . . . . . . | 2 . . . . . | 5 . . . 5 . | . . . . . . | | |||
| . . 5 . . . | . . 3 . . . | . . 5 . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | 6 . . . . . | 6 . . . . . | | |||
| 6 . . . . . | 4 . . . . . | . . . . . . | . . . . . . | | |||
^bIIIv ^bVIIv V^m | |||
| 5 . . . . . | 5 . . 3* . . | . . . . . . | . . . . . . | * play one or | |||
| 6 . . . . . | 6 . . 8* 6 . | 3 . . . . . | . . . . . . | the other, | |||
| . . . . 6 . | . . . . . . | 4 . . . 4 . | . . . . 4 . | not both | |||
| . . 4 . . . | . . 4 . . . | . . . . . . | 4 . . 7 . . | | |||
| . . . . . . | . . . . . . | . . 2 . . . | 5 . . . . . | | |||
| 5 . . . . . | 5 . . . . . | . . . . . . | . . 3 . . . | | |||
| . . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | 4 . . . . . | | |||
^bVIv IV^m Vv | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . . . . | . . . . . . | 4 . . . . . | . . . . . . | | |||
| 7 . . . 7 . | 7 . . 5 7 . | 5 . . . 5 . | . . . . . . | | |||
| . . . . . . | 7 . . . . . | . . . . . . | 5 . . . . . | | |||
| . . 5 . . . | . . 8 . . . | . . 3 . . . | . . 3 . . . | | |||
| . . . . . . | 6 . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . . . . | . . . . . . | 4 . . . . . | . . . . . . | | |||
^bIIIv ^bVIIv V^m | |||
| 5 . . . . . | 5 . . 3* . . | . . . . . . | . . . . . . | * see above | |||
| 6 . . . . . | 6 . . 8* 6 . | 3 . . . . . | . . . . . . | | |||
| . . . . 6 . | . . . . . . | 4 . . . 4 . | . . . . 4 . | | |||
| . . 4 . . . | . . 4 . . . | . . . . . . | 4 . . 7 . . | | |||
| . . . . . . | . . . . . . | . . 2 . . . | 5 . . . . . | | |||
| 5 . . . . . | 5 . . . . . | . . . . . . | . . 3 . . . | | |||
| . . . . . . | . . . . . . | 3 . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | 4 . . . . . | | |||
^bVIv Vv,^m7 I^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 6 . . 4 . . | . . . . . . | . . . . . . | . . . . . . | | |||
| 7 . . . 7 . | 5 . . 2 5 . | 7 . . . . . | 7 . . . . . | | |||
| . . . . . . | 2 . . . . . | 5 . . . 5 . | . . . . . . | | |||
| . . 5 . . . | . . 3 . . . | . . 5 . . . | . . . . . . | | |||
| . . . . . . | . . . . . . | 6 . . . . . | 6 . . . . . | | |||
| 6 . . . . . | 4 . . . . . | . . . . . . | . . . . . . |</tt> | |||
<tt></tt> | |||
=== And I Love Her (The Beatles) === | |||
This song switches between relative major and minor so smoothly, it's hard to say what key it's in. Here it's written out as major. | |||
This song has an ascending [[81/80|Meantone comma]] pump. While comma pumps are usually handled with pitch shifts, this is a rare example of a song for which tonic drift works. Tonic drift is easier to accept if it’s ascending, not descending. It only drifts up after the chorus, and this upward drift is arguably a nice touch. The Beatles changed key up a semitone at that point, and this is just a more subtle version of that. | |||
<tt> | |||
1st verse: vII^m vVI^m vII^m vVI^m | vII^m vVI^m IVv Vv | Iv / | |||
| | | |||
chorus: vVI^m Vv vVI^m vIII^m | vVI^m vIII^m Vv Vv7 | | |||
| | | |||
2nd verse: II^m VI^m II^m VI^m | II^m VI^m ^IVv ^Vv | ^Iv / | |||
</tt> | |||
=== Every Breath You Take (The Police) === | |||
Lots of added 9th chords. The final chord of the verse section is sometimes Iv,9, sometimes vVI^m,9. The chords in the bridge are power chords, but I added the downmajor 3rd. The heavy distortion prevents adding a 12-edo 3rd, but the sweeter 41-edo 3rd works fine! Perhaps the downminor 7th could be added as well? | |||
<tt> | |||
verse | Iv,9 / vVI^m,9 / | IV5,9 V5,9 Iv,9 / | | |||
| | | | |||
chorus | IV5,9 IV5,v7 Iv,9 / | IIv,9 / V5,9 / | | |||
| | | | |||
bridge | ^bVIv / ^bVIIv / | ^bVIv / ^bVIIv / | ^bVIv / | | |||
| | | |||
outro | Iv,9 / vVI^m,9 IV5,vM7 | | |||
</tt> | |||
Tab for 6-string guitar, in the key of vvB | |||
<tt> | |||
verse - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9 | |||
- - - - | - - - - | - - - - | - - - - | |||
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 - | |||
- - - - | - - - - | - - - - | - - - - | |||
2 - - - | - - - - | 2 - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - vVI^m,9 | |||
- - 1 - | 3 1 - 1 | - - 1 - | 3 1 - 1 | |||
- - - - | - - - - | - - - - | - - - - | |||
- 2 - 2 | - - 2 - | - 2 - 2 | - - 2 - | |||
- - - - | - - - - | - - - - | - - - - | |||
3 - - - | - - - - | 3 - - - | - - - - | |||
- - - - | - - - - | - - 12 - | - - - - IV5,9 V5,9 | |||
- - 15 - | - - - - | - - - - | 15 - - - | |||
- - - - | 18 - - - | - 13 - 13 | - 13 - 13 | |||
- 16 - 16 | - 16 - 16 | - - - - | - - - - | |||
- - - - | - - - - | 14 - - - | - - 14 - | |||
17 - - - | - - 17 - | - - - - | - - - - | |||
- - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9 | |||
- - - - | - - - - | - - - - | - - - - | |||
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 - | |||
- - - - | - - - - | - - - - | - - - - | |||
2 - - - | - - - - | 2 - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
chorus - - - - | - - - - | - - - - | - - - - IV5,9 IV5,v7 | |||
- - 15 - | - - - - | - - - - | - - - - | |||
- - - - | 18 - - - | - - 18 - | 14 - - - | |||
- 16 - 16 | - 16 - 16 | - 16 - 16 | - 16 - 16 | |||
- - - - | - - - - | - - - - | - - - - | |||
17 - - - | - - 17 - | 17 - - - | - - 17 - | |||
- - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9 | |||
- - - - | - - - - | - - - - | - - - - | |||
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 - | |||
- - - - | - - - - | - - - - | - - - - | |||
2 - - - | - - - - | 2 - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - IIv,9 | |||
- - 10 - | 13 - - - | - - 10 - | 13 - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
- 11 - 11 | - 11 - 11 | - 11 - 11 | - 11 - 11 | |||
- - - - | - - - - | - - - - | - - - - | |||
12 - - - | - - 12 - | 12 - - - | - - 12 - | |||
- - 12 - | - - - - | - - 12 - | - - - - V5,9 | |||
- - - - | 15 - - - | - - - - | 15 - - - | |||
- 13 - 13 | - 13 - 13 | - 13 - 13 | - 13 - 13 | |||
- - - - | - - - - | - - - - | - - - - | |||
14 - - - | - - 14 - | 14 - - - | - - 14 - | |||
- - - - | - - - - | - - - - | - - - - | |||
bridge 17 - - - | - - - - | - - - - | - - - - ^bVIv | |||
17 - - - | - - - - | - - - - | - - - - | |||
15 - - - | - - - - | - - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
16 - - - | - - - - | - - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
14 - - - | - - - - | - - - - | - - - - ^bVIIv | |||
12 - - - | - - - - | - - - - | - - - - | |||
13 - - - | - - - - | - - - - | - - - - | |||
13 - - - | - - - - | - - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
etc. | |||
outro - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9 | |||
- - - - | - - - - | - - - - | - - - - | |||
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 - | |||
- - - - | - - - - | - - - - | - - - - | |||
2 - - - | - - - - | 2 - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
- - - - | - - - - | - - - - | - - - - vVI^m,9 IV5,vM7 | |||
- - 1 - | 3 1 - 1 | - - - - | - - - - | |||
- - - - | - - - - | - - 18 - | 16 - - - | |||
- 2 - 2 | - - 2 - | - 16 - 16 | - 16 - 16 | |||
- - - - | - - - - | - - - - | - - - - | |||
3 - - - | - - - - | 17 - - - | - - 17 - | |||
</tt> | |||
== Tetradic Songs == | == Tetradic Songs == | ||
=== I Will (The Beatles) === | |||
This song pumps the [[81/80|Meantone comma]] very rapidly. The Gvm7 chords could instead be G^m7 chords. Note the ^4 root movement from vD to G. Alternatively, a plain-D root could be used. But using a down-D root links the D chord more strongly to the F chord. This makes the first 4 chords of the song feel like only two: Fv6 and CM9<tt>. | |||
</tt> | |||
<tt>Fv vD^m7 Gvm7 Cv7 | Fv vD^m vA^m | |||
| | |||
Fv7 Bbv Cv7 vD^m | Fv Bbv Cv7 | |||
| | |||
Fv vD^m7 Gvm7 Cv7 | | |||
Bbv vA^m vD^m7 / | Gvm7 Cv7 Fv Fv7 | |||
| | |||
Bbv vA^m vD^m7 / | Gv7 / Cv7 /</tt> | |||
<tt></tt> | |||
=== Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) === | === Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) === | ||
| Line 80: | Line 485: | ||
<br> | |||
</tt> | </tt> | ||
In relative notation: | In relative notation: | ||
| Line 195: | Line 601: | ||
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. | 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. | ||
The harmonies are translated as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is vB, which is far from the original key of F. That key was chosen so that the first #11 chord could take advantage of an open string. Unfortunately, the | The harmonies are translated as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is vB, which is far from the original key of F. That key was chosen so that the first #11 chord could take advantage of an open string. Unfortunately, the second #11 chord can't do that, so a dom7addb5 chord is used instead. | ||
In the two #11 chords near the end, the #11 could have been translated as 11/4, a ~11. But arguably the reason the 9th is flat is to justify/reinforce the #11. In 12-edo, the b9 along with the b7 and #11 create a harmonious 1st inversion major triad. In 41-edo, since the b7 is 7/4, the b9 must be 21/10 and the #11 must be 14/5. To make this upper structure clearer, in the chord name the 11th is called a b12, not a v#11. | In the two #11 chords near the end, the #11 could have been translated as 11/4, a ~11. But arguably the reason the 9th is flat is to justify/reinforce the #11. In 12-edo, the b9 along with the b7 and #11 create a harmonious 1st inversion major triad. In 41-edo, since the b7 is 7/4, the b9 must be 21/10 and the #11 must be 14/5. To make this upper structure clearer, in the chord name the 11th is called a b12, not a v#11. | ||
| Line 205: | Line 611: | ||
| | | | ||
^G^m9 / vvEv7 / | A^m7 Dv7b9b12 G^m7 Cv7b9b12 | ^G^m9 / vvEv7 / | A^m7 Dv7b9b12 G^m7 Cv7b9b12 | ||
</tt> | </tt>Relative notation.<tt> | ||
<tt> | |||
IvM9 / IIv6 / | vII^m7 #Iv7(b5) IvM7 #Iv7(b5) | IvM9 / IIv6 / | vII^m7 #Iv7(b5) IvM7 #Iv7(b5) | ||
| | | | ||
| Line 326: | Line 730: | ||
<br> | |||
</tt> | </tt> | ||
Relative notation: | Relative notation: | ||
| Line 345: | Line 750: | ||
<br> | |||
</tt> | </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. | 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 399: | Line 805: | ||
B part: Dbv Ebv Abv6 / Dbv Ebv Abv6 / Dbv Ebv Abv6 / Abv / Abv6 / | B part: Dbv Ebv Abv6 / Dbv Ebv Abv6 / Dbv Ebv Abv6 / Abv / Abv6 / | ||
In relative notation: | In relative notation:</tt> | ||
Intro: Iv / Iv6 / Iv / Iv6 / | Intro: Iv / Iv6 / Iv / Iv6 / | ||
| Line 523: | Line 929: | ||
2 - - 2 | - - - 2 | - - - 2 | - - - - | 2 - - 2 | - - - 2 | - - - 2 | - - - - | ||
</tt> | </tt> | ||
== Barbershop, World Music, Microtonal Music, etc. == | == Barbershop, World Music, Microtonal Music, etc. == | ||
| Line 1,230: | Line 1,220: | ||
<br> | |||
</tt> | </tt> | ||
The score below is written out for the (P8,P4/3) pergen, with an enharmonic of v<sup>3</sup>A1, 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. | The score below is written out for the (P8,P4/3) pergen, with an enharmonic of v<sup>3</sup>A1, 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. | ||