Kite Guitar translations by Kite Giedraitis: Difference between revisions
mNo edit summary |
|||
| Line 16: | Line 16: | ||
</tt> | </tt> | ||
Relative notation. Slash chords in roman numeral notation are explained in the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation Guide for Edos], near the end of section 3. | Relative notation. Slash chords in roman numeral notation are explained in the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation Guide for Edos], near the end of section 3.<tt> | ||
<tt> | |||
Iv / / / Iv/vM7 / / / | Iv / / / Iv/vM7 / / / | ||
| Line 29: | Line 28: | ||
Tab in ^C downmajor for a 6-string guitar. Detune the top string by a half-fret, to make a unison with the 2nd string 6th fret, and an 8ve with the 5th string 5th fret. Capo up 6 or 7 frets to get close to the original key of E. | Tab in ^C downmajor for a 6-string guitar. Detune the top string by a half-fret, to make a unison with the 2nd string 6th fret, and an 8ve with the 5th string 5th fret. Capo up 6 or 7 frets to get close to the original key of E. | ||
The Blood On The Tracks version has the Gm chord voiced R-3-5. But I like it voiced with the 3rd in the bass. I like the tension created by the bass line slowly approaching A, then suddenly jumping back up to D. For | The Blood On The Tracks version has the Gm chord voiced R-3-5. But I like it voiced with the 3rd in the bass. I like the tension created by the bass line slowly approaching A, then suddenly jumping back up to D. For Dylan's voicing, just omit the bass and play . . 7 6 . 0 | ||
<tt> | <tt> | ||
Iv . 5 5 4 . 0 | Iv . 5 5 4 . 0 | ||
| Line 53: | Line 52: | ||
=== Fast Car (Tracy Chapman) === | === Fast Car (Tracy Chapman) === | ||
For 6 strings. Key is ^^F. Capo on the 6th fret for the key A. Main riff: | For 6 strings. Key is ^^F. Capo on the 6th fret for the key A. Main riff:<tt><tt> | ||
<tt> | |||
- - - 0 | - 0 - - | - - - - | - - - - | - - - 0 | - 0 - - | - - - - | - - - - | ||
1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - | 1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - | ||
| Line 61: | Line 59: | ||
2 - - - | - - 14 - | 14 - - 14 | - - 14 - | 2 - - - | - - 14 - | 14 - - 14 | - - 14 - | ||
- - - 0 | - - - - | 15 - - 12 | - - - - | - - - 0 | - - - - | 15 - - 12 | - - - - | ||
</tt> | </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: | ||
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: | |||
- - - 0 | - 0 - - | - - - - | - - - - | - - - 0 | - 0 - - | - - - - | - - - - | ||
<b>1</b> 3 <b>1</b> - | - - - - | 15 (18) 15 13 | - 13 - - | <b>1</b> 3 <b>1</b> - | - - - - | 15 (18) 15 13 | - 13 - - | ||
| Line 73: | Line 68: | ||
</tt> | </tt> | ||
Chords for the strumming part: | Chords for the strumming part:<tt> | ||
<tt> | |||
IVv . 2 . 1 3 3 | IVv . 2 . 1 3 3 | ||
| Line 86: | Line 80: | ||
=== Hotel California (The Eagles) === | === Hotel California (The Eagles) === | ||
<tt>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> | |||
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 | I^m Vv ^bVIIv ^IVv | ||
^^bVIv ^^bIIIv ^IV^m Vv7 | ^^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.<tt>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> | </tt> | ||
I^m Vv bVIIv IVv | I^m Vv bVIIv IVv | ||
^bVIv ^bIIIv IV^m Vv7 | ^bVIv ^bIIIv IV^m Vv7</tt> | ||
</tt> | |||
The chorus is straightforward: | The chorus is straightforward:<tt> | ||
<tt> | |||
^bVIv ^bIIIv Vv7 I^m | ^bVIv ^bIIIv Vv7 I^m | ||
| Line 151: | Line 138: | ||
5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - - | 5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - - | ||
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - - | - - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - - | ||
</tt> | </tt><br> | ||
=== Greensleeves (traditional) === | === 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 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. | 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></tt> | ||
<tt> Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv IV^m | Vv / | |||
<tt> | |||
| | | | | | | | ||
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | ||
| Line 167: | Line 150: | ||
^bIIIv / | ^bVIIv V^m | ^bVIv IV^m | Vv / | ^bIIIv / | ^bVIIv V^m | ^bVIv IV^m | Vv / | ||
| | | | | | | | ||
^bIIIv / | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | ^bIIIv / | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m /</tt> | ||
</tt> | |||
6-string tab in E upminor: | It's hard to recreate the usual 12-edo fingerpicking version with just 6 strings. 8 strings is really needed for that.<tt>6-string tab in E upminor:</tt> | ||
<tt> | |||
Ivm ^bIIIv ^bVIIv V^m | Ivm ^bIIIv ^bVIIv V^m | ||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | | . . . . . . | . . . . . . | . . . . . . | . . . . . . | | ||
| Line 238: | Line 217: | ||
| 5 . . . 5 . | 3 . . 0 3 . | 5 . . . . . | 5 . . . . . | | | 5 . . . 5 . | 3 . . 0 3 . | 5 . . . . . | 5 . . . . . | | ||
| 5 . . . . . | 0 . . . . . | 3 . . . 3 . | . . . . . . | | | 5 . . . . . | 0 . . . . . | 3 . . . 3 . | . . . . . . | | ||
| 3 . . . . . | 1 . . . . . | 3 . . . . . | . . . . . . | | | 3 . . . . . | 1 . . . . . | 3 . . . . . | . . . . . . |</tt> | ||
</tt> | |||
8-string tab in A upminor. Adding the notes in parentheses creates the passing chords. | 8-string tab in A upminor. Adding the notes in parentheses creates the passing chords.<tt> | ||
<tt> | |||
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | ||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | | . . . . . . | . . . . . . | . . . . . . | . . . . . . | | ||
| Line 352: | Line 329: | ||
</tt> | </tt> | ||
Tab for 6-string guitar, in the key of vvB | Tab for 6-string guitar, in the key of vvB<tt> | ||
<tt> | |||
verse - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9 | verse - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9 | ||
- - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - - - | ||
| Line 467: | Line 443: | ||
=== Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) === | === Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) === | ||
This song showcases the 4:5:6:7 tetrad as the main chord for the blues. | <tt>This song showcases the 4:5:6:7 tetrad as the main chord for the blues.</tt> | ||
<tt> | |||
Gv7 D^m vE^m Dvm Gv9 | Cv7 G^m vA^m Gvm Cv9 | Gv7 D^m vE^m Dvm Gv9 | Cv7 G^m vA^m Gvm Cv9 | ||
| | | | ||
| Line 479: | Line 454: | ||
vA^m7 / / / | C^m7 / / / | vA^m7 / / / | C^m7 / / / | ||
| | | | ||
Gv7 / Cv7 / | Gv7 / Dvaug / | Gv7 / Cv7 / | Gv7 / Dvaug / </tt> | ||
</tt> | <tt>In relative notation:</tt> | ||
In relative notation: | |||
<tt> | |||
Iv7 V^m vVI^m Vvm Iv9 | IVv7 I^m vII^m Ivm IVv9 | Iv7 V^m vVI^m Vvm Iv9 | IVv7 I^m vII^m Ivm IVv9 | ||
| | | | ||
| Line 494: | Line 466: | ||
vII^m7 / / / | IV^m7 / / / | vII^m7 / / / | IV^m7 / / / | ||
| | | | ||
Iv7 / IVv7 / | Iv7 / Vvaug / | Iv7 / IVv7 / | Iv7 / Vvaug / </tt> | ||
</tt> | |||
Chords for 6-string guitar, in A | Chords for 6-string guitar, in A<tt> | ||
<tt> | |||
Iv7 6 . 5 3 7 . | Iv7 6 . 5 3 7 . | ||
| Line 540: | Line 510: | ||
FvM7 Bvm7(b5) Esus4 Ev7 | FvM7 Bvm7(b5) Esus4 Ev7 | ||
In relative notation:<tt></tt> | |||
In relative notation: | |||
<tt> | |||
I^m7 IV^m7 bVIIv7 bIIIvM7 | I^m7 IV^m7 bVIIv7 bIIIvM7 | ||
bVIvM7 IIvm7(b5) Vsus4 Vv7 | bVIvM7 IIvm7(b5) Vsus4 Vv7</tt> | ||
</tt> | </tt> | ||
Tab for 6-string guitar in the key of D upminor: | Tab for 6-string guitar in the key of D upminor:<tt> | ||
<tt> | |||
I^m7 . 8 . 7 6 8 | I^m7 . 8 . 7 6 8 | ||
| Line 571: | Line 534: | ||
</tt> | </tt> | ||
Tab for 6-string guitar in the key of ^Bb upminor: | Tab for 6-string guitar in the key of ^Bb upminor:<tt> | ||
<tt> | |||
I^m7 8 . 7 6 8 . | I^m7 8 . 7 6 8 . | ||
| Line 609: | Line 571: | ||
E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda) | E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda) | ||
</tt> | </tt><tt>In relative notation:</tt> | ||
In relative notation: | |||
<tt> | |||
I^m7 / IV^m7 / | V4 V^7 I^m7 / | I^m7 / IV^m7 / | V4 V^7 I^m7 / | ||
| | | | ||
| Line 627: | Line 586: | ||
I^m7 ^bIIIv7 ^bVIv7 / | IV^9 ^bVIv7 ^bIIIv7 / (coda) | I^m7 ^bIIIv7 ^bVIv7 / | IV^9 ^bVIv7 ^bIIIv7 / (coda)</tt> | ||
</tt> | |||
Chords for six-string guitar in the key of vBb: | Chords for six-string guitar in the key of vBb:<tt> | ||
<tt> | |||
I^m7 7 . . 5 7 7 high-3-5 voicing, fingering is 2 1 3 4 | I^m7 7 . . 5 7 7 high-3-5 voicing, fingering is 2 1 3 4 | ||
| Line 667: | Line 624: | ||
| | | | ||
^G^m9 / vvEv7 / | A^m7 Dv7b9b12 G^m7 Cv7b9b12 | ^G^m9 / vvEv7 / | A^m7 Dv7b9b12 G^m7 Cv7b9b12 | ||
Relative notation.<tt></tt> | |||
< | |||
</ | |||
IvM9 / IIv6 / | vII^m7 #Iv7(b5) IvM7 #Iv7(b5) | IvM9 / IIv6 / | vII^m7 #Iv7(b5) IvM7 #Iv7(b5) | ||
| | | | ||
#IvM7 / #IVv7 / | #I^m9 / ^VIv7 / | #IvM7 / #IVv7 / | #I^m9 / ^VIv7 / | ||
| | | | ||
^II^m9 / ~VIIv7 / | III^m7 VIv7b9b12 II^m7 Vv7b9b12 | ^II^m9 / ~VIIv7 / | III^m7 VIv7b9b12 II^m7 Vv7b9b12 </tt> | ||
</tt> | </tt> | ||
Tab in vB, with fingerings, for 6-string guitar: | Tab in vB, with fingerings, for 6-string guitar:<tt> | ||
<tt> | |||
----------CHORDS------------- -----MELODY NOTES-------------- --------REMARKS---------------------------- | ----------CHORDS------------- -----MELODY NOTES-------------- --------REMARKS---------------------------- | ||
| Line 772: | Line 724: | ||
=== Killing Me Softly (Roberta Flack) === | === Killing Me Softly (Roberta Flack) === | ||
Arranged by Kite and Athan Spathas. Absolute notation: | Arranged by Kite and Athan Spathas. Absolute notation:<tt> | ||
<tt> | |||
chorus: E^m7 A^m7 Dv7 ^Gv GvM7 | chorus: E^m7 A^m7 Dv7 ^Gv GvM7 | ||
| Line 788: | Line 739: | ||
A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | ||
Relative notation:<tt></tt> | |||
< | |||
</ | |||
chorus: I^m7 IV^m7 bVIIv7 ^bIIIv ^bVIvM7 | chorus: I^m7 IV^m7 bVIIv7 ^bIIIv ^bVIvM7 | ||
| Line 808: | Line 753: | ||
IV^m7 bVIIv7 I^m7 / | IV^m7 bVIIv7 I^m7 / | ||
IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7 | IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7</tt> | ||
</tt> | </tt> | ||
| Line 863: | Line 808: | ||
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:</tt> | In relative notation:</tt> | ||
Intro: Iv / Iv6 / Iv / Iv6 / | Intro: Iv / Iv6 / Iv / Iv6 / | ||
| Line 1,154: | Line 1,093: | ||
/ | / | ||
</tt> | </tt> | ||
=== I Hear Numbers (Tall Kite, microtonal) === | === I Hear Numbers (Tall Kite, microtonal) === | ||
| Line 1,166: | Line 1,104: | ||
Liner notes: http://tallkite.com/music/IHearNumbers.html | Liner notes: http://tallkite.com/music/IHearNumbers.html | ||
Chords: | Chords:<tt> | ||
<tt> | |||
intro: Vv7 vIII^m7(b5) Vv7 vIII^m7(b5) | intro: Vv7 vIII^m7(b5) Vv7 vIII^m7(b5) | ||
Vv7 vIII^m7(b5) Vv7 / | Vv7 vIII^m7(b5) Vv7 / | ||
| Line 1,283: | Line 1,220: | ||
| | | | | | | | ||
| ^IVv ^IVv/3 VIv | IIv V^m Vv | | | ^IVv ^IVv/3 VIv | IIv V^m Vv | | ||
<br></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. | |||
<br> | |||
</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. | |||
[[File:Mizarian_Porcupine_Overture.png|alt=Mizarian Porcupine Overture.png|800x692px|Mizarian Porcupine Overture.png]] | [[File:Mizarian_Porcupine_Overture.png|alt=Mizarian Porcupine Overture.png|800x692px|Mizarian Porcupine Overture.png]] | ||
| Line 1,332: | Line 1,261: | ||
v3 1 | v3 1 | ||
</tt> | </tt> | ||
=== The Magic Of Belief (Chris Vaisvil, microtonal) === | |||
Coming soon! | |||
https://chrisvaisvil.com/the-magic-of-belief-magic19-of-41-edo/ | |||