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. 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. | [[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds, unless otherwise noted. 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. | ||
Omitting the ups and downs in the chord names reveals the original 12-edo chords. | |||
== Triadic Songs == | == Triadic Songs == | ||
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</tt> | </tt> | ||
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. '''<u>Detune the top string by a half-fret</u>''', 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 Dylan's voicing, just omit the bass and play . . 7 6 . 0 | 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 | ||
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=== 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:<tt><tt> | For 6 strings. Key is ^^F downmajor, the open 6th string. Capo on the 6th fret for the original key of A. Main riff:<tt><tt> | ||
- - - 0 | - 0 - - | - - - - | - - - - | - - - 0 | - 0 - - | - - - - | - - - - | ||
1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - | 1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - | ||
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2 - - - | - - 14 - | 14 - - 14 | - - 14 - | 2 - - - | - - 14 - | 14 - - 14 | - - 14 - | ||
- - - 0 | - - - - | 15 - - 12 | - - - - | - - - 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></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: | |||
- - - 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 - - | ||
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=== Hotel California (The Eagles) === | === 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: | |||
I^m Vv ^bVIIv ^IVv | I^m Vv ^bVIIv ^IVv | ||
^^bVIv ^^bIIIv ^IV^m Vv7 | ^^bVIv ^^bIIIv ^IV^m Vv7 | ||
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. | |||
The tonic should be at least 3 dots up the neck, to allow room to walk down. | |||
I^m Vv bVIIv IVv | I^m Vv bVIIv IVv | ||
^bVIv ^bIIIv IV^m Vv7 | ^bVIv ^bIIIv IV^m Vv7 | ||
The chorus is straightforward:<tt> | The chorus is straightforward:<tt> | ||
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5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - - | 5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - - | ||
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - - | - - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - - | ||
</tt><br> | </tt><br> | ||
=== Greensleeves (traditional) === | === Greensleeves (traditional) === | ||
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| 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 . . . . . | . . . . . . | | ||
8-string tab in A upminor. Adding the notes in parentheses creates the passing chords.<tt> | 8-string tab in A upminor. Adding the notes in parentheses creates the passing chords.<tt> | ||
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=== 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. | |||
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 | ||
| | | | ||
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vA^m7 / / / | C^m7 / / / | vA^m7 / / / | C^m7 / / / | ||
| | | | ||
Gv7 / Cv7 / | Gv7 / Dvaug / | Gv7 / Cv7 / | Gv7 / Dvaug / | ||
<tt>In relative notation:</tt> | <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 | ||
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vII^m7 / / / | IV^m7 / / / | vII^m7 / / / | IV^m7 / / / | ||
| | | | ||
Iv7 / IVv7 / | Iv7 / Vvaug / | Iv7 / IVv7 / | Iv7 / Vvaug / | ||
Chords for 6-string guitar, in A<tt> | Chords for 6-string guitar, in A<tt> | ||
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bVIvM7 IIvm7(b5) Vsus4 Vv7</tt> | bVIvM7 IIvm7(b5) Vsus4 Vv7</tt> | ||
Tab for 6-string guitar in the key of D upminor:<tt> | Tab for 6-string guitar in the key of D upminor:<tt> | ||
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E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda) | E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda) | ||
</tt><tt>In relative notation:</tt> | </tt><tt>In relative notation:</tt> | ||
I^m7 / IV^m7 / | V4 V^7 I^m7 / | I^m7 / IV^m7 / | V4 V^7 I^m7 / | ||
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I^m7 ^bIIIv7 ^bVIv7 / | IV^9 ^bVIv7 ^bIIIv7 / (coda) | I^m7 ^bIIIv7 ^bVIv7 / | IV^9 ^bVIv7 ^bIIIv7 / (coda) | ||
Chords for six-string guitar in the key of vBb:<tt> | Chords for six-string guitar in the key of vBb:<tt> | ||
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| | | | ||
^II^m9 / ~VIIv7 / | III^m7 VIv7b9b12 II^m7 Vv7b9b12 </tt> | ^II^m9 / ~VIIv7 / | III^m7 VIv7b9b12 II^m7 Vv7b9b12 </tt> | ||
Tab in vB, with fingerings, for 6-string guitar:<tt> | Tab in vB, with fingerings, for 6-string guitar:<tt> | ||
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IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7</tt> | 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. | 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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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 / | ||
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| | | | | | | | ||
| ^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. | ||