Kite Guitar chord shapes (downmajor tuning): Difference between revisions

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We've covered every chord that maps to a JI chord of intervallic odd-limit 9. However there are many Kite guitar chords that don't, although their individual intervals do. These chords are called [[Dyadic chord|innate-comma chords aka essentially tempered chords]]. Such chords often have a mysterious sound. Almost every easily reachable interval on the fretboard is odd-limit 9. The only exceptions are ~4, ~5, vM7, ^M7, vm9 and ^m9. Thus the majority of Kite guitar chord shapes are intervallic odd-limit 9.

For example, the downadd7no5 chord has 5/4 and 16/9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224|Ruyoyo]] comma of only 8¢, 64/45 is equivalent to 10/7. The high-3 voicing inverts this into an even smoother 7/5. This dom7 chord is often appropriate for translating 12-~~edos~~ V7 -- I cadence: relaxed but not too relaxed. ~~Note that adding~~ the 5th ~~would increase~~ the odd-limit to 27.

For example, the downadd7no5 chord has 5/4 and 16/9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224|Ruyoyo]] comma of only 8¢, 64/45 is equivalent to 10/7. The high-3 voicing inverts this into an even smoother 7/5. This dom7 chord is often appropriate for translating 12-edo's V7 -- I cadence: relaxed but not too relaxed. Adding the 5th creates a plain minor 3rd interval with the 7th. If the m3 is interpreted as 32/27, this increases the odd limit to 27. But if interpreted as 13/11, the odd limit is only 13.

The ~~downmajor7sus4~~ chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of ~~CvM7(4)~~ is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.

The sus4downmajor7 chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of C4,vM7 = C F G vB is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.

The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.

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!example w homonym

!Cv,7no5 = Bb2(b5)

!~~CvM7(4)~~ = F2,b5

!C4,vM7 = F2,b5

!Cv7(b5) = Gbv,7(^b5)

!Cv(b5)

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 We've covered every chord that maps to a JI chord of intervallic odd-limit 9. However there are many Kite guitar chords that don't, although their individual intervals do. These chords are called [[Dyadic chord|innate-comma chords aka essentially tempered chords]]. Such chords often have a mysterious sound. Almost every easily reachable interval on the fretboard is odd-limit 9. The only exceptions are ~4, ~5, vM7, ^M7, vm9 and ^m9. Thus the majority of Kite guitar chord shapes are intervallic odd-limit 9.
-For example, the downadd7no5 chord has 5/4 and 16/9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224|Ruyoyo]] comma of only 8¢, 64/45 is equivalent to 10/7. The high-3 voicing inverts this into an even smoother 7/5. This dom7 chord is often appropriate for translating 12-edos V7 -- I cadence: relaxed but not too relaxed. Note that adding the 5th would increase the odd-limit to 27.
+For example, the downadd7no5 chord has 5/4 and 16/9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224|Ruyoyo]] comma of only 8¢, 64/45 is equivalent to 10/7. The high-3 voicing inverts this into an even smoother 7/5. This dom7 chord is often appropriate for translating 12-edo's V7 -- I cadence: relaxed but not too relaxed. Adding the 5th creates a plain minor 3rd interval with the 7th. If the m3 is interpreted as 32/27, this increases the odd limit to 27. But if interpreted as 13/11, the odd limit is only 13.
-The downmajor7sus4 chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of CvM7(4) is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.
+The sus4downmajor7 chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of C4,vM7 = C F G vB is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.
 The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.
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 !example w homonym
 !Cv,7no5 = Bb2(b5)
-!CvM7(4) = F2,b5
+!C4,vM7 = F2,b5
 !Cv7(b5) = Gbv,7(^b5)
 !Cv(b5)