Kite Guitar translations by Kite Giedraitis: Difference between revisions
moved "I Hear Numbers" from here to my originals page |
added "These Boots Are Made For Walkin" |
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== Triadic Songs == | == Triadic Songs == | ||
=== These Boots Are Made For Walkin' (Lee Hazlewood) === | |||
The only #1 single with a microtonal bass line! (so far) | |||
<tt> | |||
bass run -----------------------> | |||
Iv / / / / / / / | |||
Iv / / / / / / / | |||
IVv / / / Iv / / / | |||
^bIIIv I^m ^bIIIv I^m ^bIIIv I^m N.C. | |||
</tt> | |||
The original key is E. But for a solo 6-string arrangement, the bass run needs to sound bassy, which means the tonic needs to be low on the 6th string. Ab is a good key. | |||
The Iv chord is played as a v chord with a quick passing vm chord. In Ab, the frets would be 4x355x and 4x353x. The fingerings are 2x134x and 2x131x. The original has a strumming pattern of down down-up-down down-up with the vm chord only on the 2nd & 4th downs, but many other rhythms are possible. | |||
Some people play the I and IV chords in later verses as dom7 chords. These can be translated to v7 chords. | |||
In the original, the bass run walks by quartertones of 50¢ from the 8ve down to the half-flat 4th, then jumps down to the tonic. The Kite guitar has steps of either ~60¢ or ~30¢, so it can't duplicate that exactly. This is a blessing in disguise, because there are many ways to approximate the original, and we can be creative in our choices. | |||
This way uses mostly steps of 60¢, but a 30¢ step when moving to the next string. The run ends on a vM3. (3,5) means 3rd string, 5th fret. | |||
<tt> | |||
(3,5) (3,4) (3,3) (3,2) | (3,1) (3,0) (4,6) (4,5) | |||
| | |||
(4,4) (4,3) (4,2) (4,1) | (4,0) (5,6) (5,5) (5,4) | |||
</tt> | |||
The melody can be varied by moving to the next string earlier, so that the 30¢ step happens sooner. For example, the 6th note could be (4,7). | |||
This way uses steps of 60¢ and 90¢ and ends on the vm3. This is further from the original but sounds better melodically to me. The 30¢ step sounds annoyingly small. Again, one can vary the melody by moving to the next string earlier. | |||
<tt> | |||
(3,5) (3,4) (3,3) (3,2) | (3,1) (3,0) (4,5) (4,4) | |||
| | |||
(4,3) (4,2) (4,1) (4,0) | (5,5) (5,4) (5,3) (5,2) | |||
</tt> | |||
Yet another way uses only the 5th string. It starts on the 18th fret and walks down to the 3rd fret, the ^m3. It uses only 60¢ steps, very nice melodically. But it has the ^5 and v5 and no P5. In a solo arrangement, that's no problem, but in a band setting it might clash too much with the Iv chord. | |||
All of these ways can be varied by lowering the last few notes so that the final leap down to the tonic is smaller. For example, the last 4 notes of the last example could be (5,6) (5,4) (5,2) (5,0). | |||
Every one of these possibilities works well, and since the bass run happens 4-5 times in the song, there's no reason to play it the same way twice! | |||
Finally, an advanced version combines the bass run with the Iv chord. | |||
<tt> | |||
| - - 4 4 - - 4 4 | - - 4 4 - - 4 4 | - - 4 4 - - 4 4 | - - 4 4 - - 4 4 | | |||
| - - 5 5 - - 5 5 | - - 5 5 - - 5 5 | - - 5 5 - - 5 5 | - - 5 5 - - 5 5 | | |||
| 5 - 4 - 3 - 2 - | 1 - 0 - - - - - | - - - - - - - - | - - - - - - - - | | |||
| - - - - - - - - | - - - - 5 - 4 - | 3 - 2 - 1 - 0 - | - - - - - - - - | | |||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | 5 - 4 - 3 - 2 - | | |||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | |||
</tt> | |||
=== Simple Twist Of Fate (Bob Dylan) === | === Simple Twist Of Fate (Bob Dylan) === | ||
This song uses lots of inversions to create its distinctive bass line. The original Blood On The Tracks version uses an open D tuning, capo'ed up to E. The translation is mostly 5-limit. The only 7-limit chord is Av7, which could become a 5-limit chord, Av,7. | This song uses lots of inversions to create its distinctive bass line. The original Blood On The Tracks version uses an open D tuning, capo'ed up to E. The translation is mostly 5-limit. The only 7-limit chord is Av7, which could become a 5-limit chord, Av,7. | ||
<tt> | <tt> | ||
Dv / / / Dv/vC# / / / | Dv / / / Dv/vC# / / / | ||
| Line 18: | Line 72: | ||
</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.<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. | ||
<tt> | |||
Iv / / / Iv/vM7 / / / | Iv / / / Iv/vM7 / / / | ||
| Line 29: | Line 84: | ||
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. | 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. | ||
<tt> | <tt> | ||
Iv . 5 5 4 . 0 | Iv . 5 5 4 . 0 | ||
| Line 51: | Line 104: | ||
Iv . 5 5 4 . 0 (as before) | Iv . 5 5 4 . 0 (as before) | ||
</tt> | </tt> | ||
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 | |||
=== Fast Car (Tracy Chapman) === | === Fast Car (Tracy Chapman) === | ||
For 6 strings. Key is ^^F downmajor, the open 6th string. Capo on the 6th fret for the original key of A. Main riff: | 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> | |||
- - - 0 | - 0 - - | - - - - | - - - - | - - - 0 | - 0 - - | - - - - | - - - - | ||
1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - | 1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - | ||
| Line 61: | Line 117: | ||
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> | |||
- - - 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 71: | Line 128: | ||
</tt> | </tt> | ||
Chords for the strumming part:<tt> | Chords for the strumming part: | ||
<tt> | |||
IVv . 2 . 1 3 3 | IVv . 2 . 1 3 3 | ||
| Line 84: | Line 142: | ||
=== 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: | 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. 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. | 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. | The tonic should be at least 3 dots up the neck, to allow room to walk down. | ||
<tt> | |||
I^m Vv bVIIv IVv | I^m Vv bVIIv IVv | ||
^bVIv ^bIIIv IV^m Vv7 | ^bVIv ^bIIIv IV^m Vv7 | ||
</tt> | |||
The chorus is straightforward:<tt> | The chorus is straightforward: | ||
<tt> | |||
^bVIv ^bIIIv Vv7 I^m | ^bVIv ^bIIIv Vv7 I^m | ||
| Line 103: | Line 164: | ||
=== Stairway To Heaven intro (Led Zeppelin) === | === 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). | 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). | ||
| Line 143: | Line 203: | ||
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - - | - - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - - | ||
</tt> | </tt> | ||
=== 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> | |||
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv IV^m | Vv / | |||
| | | | | | | | ||
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m / | ||
| Line 155: | Line 217: | ||
^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 /</tt> | ^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. | 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 | Ivm ^bIIIv ^bVIIv V^m | ||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | | . . . . . . | . . . . . . | . . . . . . | . . . . . . | | ||
| Line 223: | Line 289: | ||
| 5 . . . . . | 0 . . . . . | 3 . . . 3 . | . . . . . . | | | 5 . . . . . | 0 . . . . . | 3 . . . 3 . | . . . . . . | | ||
| 3 . . . . . | 1 . . . . . | 3 . . . . . | . . . . . . | | | 3 . . . . . | 1 . . . . . | 3 . . . . . | . . . . . . | | ||
</tt> | |||
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> | |||
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | ||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | | . . . . . . | . . . . . . | . . . . . . | . . . . . . | | ||
| Line 334: | Line 402: | ||
</tt> | </tt> | ||
Tab for 6-string guitar, in the key of vvB<tt> | Tab for 6-string guitar, in the key of vvB | ||
<tt> | |||
verse - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9 | verse - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9 | ||
- - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - - - | ||
| Line 432: | Line 501: | ||
=== I Will (The Beatles) === | === 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 | 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> | ||
Fv vD^m7 Gvm7 Cv7 | Fv vD^m vA^m | |||
| | | | ||
Fv7 Bbv Cv7 vD^m | Fv Bbv Cv7 | Fv7 Bbv Cv7 vD^m | Fv Bbv Cv7 | ||
| Line 449: | Line 518: | ||
=== 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. | This song showcases the 4:5:6:7 tetrad as the main chord for the blues. | ||
<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 460: | Line 530: | ||
| | | | ||
Gv7 / Cv7 / | Gv7 / Dvaug / | Gv7 / Cv7 / | Gv7 / Dvaug / | ||
<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 472: | Line 544: | ||
| | | | ||
Iv7 / IVv7 / | Iv7 / Vvaug / | Iv7 / IVv7 / | Iv7 / Vvaug / | ||
</tt> | |||
Chords for 6-string guitar, in A<tt> | Chords for 6-string guitar, in A downmajor | ||
<tt> | |||
Iv7 6 . 5 3 7 . | Iv7 6 . 5 3 7 . | ||
| Line 515: | Line 589: | ||
FvM7 Bvm7(b5) Esus4 Ev7 | FvM7 Bvm7(b5) Esus4 Ev7 | ||
In relative notation:< | </tt> | ||
In relative notation: | |||
<tt> | |||
I^m7 IV^m7 bVIIv7 bIIIvM7 | I^m7 IV^m7 bVIIv7 bIIIvM7 | ||
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> | |||
I^m7 . 8 . 7 6 8 | I^m7 . 8 . 7 6 8 | ||
| Line 538: | Line 616: | ||
</tt> | </tt> | ||
Tab for 6-string guitar in the key of ^Bb upminor:<tt> | Tab for 6-string guitar in the key of ^Bb upminor: | ||
<tt> | |||
I^m7 8 . 7 6 8 . | I^m7 8 . 7 6 8 . | ||
| Line 575: | Line 654: | ||
E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda) | E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda) | ||
</tt> | |||
In relative notation: | |||
<tt> | |||
I^m7 / IV^m7 / | V4 V^7 I^m7 / | I^m7 / IV^m7 / | V4 V^7 I^m7 / | ||
| | | | ||
| Line 592: | Line 673: | ||
I^m7 ^bIIIv7 ^bVIv7 / | IV^9 ^bVIv7 ^bIIIv7 / (coda) | I^m7 ^bIIIv7 ^bVIv7 / | IV^9 ^bVIv7 ^bIIIv7 / (coda) | ||
</tt> | |||
Chords for six-string guitar in the key of vBb:<tt> | Chords for six-string guitar in the key of vBb upminor: | ||
<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 634: | Line 717: | ||
#IvM7 / #IVv7 / | #I^m9 / ^VIv7 / | #IvM7 / #IVv7 / | #I^m9 / ^VIv7 / | ||
| | | | ||
^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: | ||
----------CHORDS------------- -----MELODY NOTES-------------- --------REMARKS | <tt> | ||
----------CHORDS------------- -----MELODY NOTES-------------- --------REMARKS---------------------- | |||
IvM9 9 9 8 8 7 . (2,7) (3,8) (3,5) (on guitar) If the melody is played/sung by another, | IvM9 9 9 8 8 7 . (2,7) (3,8) (3,5) (on guitar) If the melody is played/sung by another, | ||
| Line 727: | Line 812: | ||
=== 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 743: | Line 828: | ||
A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | ||
Relative notation:< | </tt> | ||
Relative notation: | |||
<tt> | |||
chorus: I^m7 IV^m7 bVIIv7 ^bIIIv ^bVIvM7 | chorus: I^m7 IV^m7 bVIIv7 ^bIIIv ^bVIvM7 | ||
| Line 757: | Line 844: | ||
IV^m7 bVIIv7 I^m7 / | IV^m7 bVIIv7 I^m7 / | ||
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. | ||
| Line 811: | Line 899: | ||
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 / | ||
</tt> | |||
In relative notation:< | In relative notation: | ||
<tt> | |||
Intro: Iv / Iv6 / Iv / Iv6 / | Intro: Iv / Iv6 / Iv / Iv6 / | ||
| Line 820: | Line 910: | ||
B part: IVv Vv Iv6 / IVv Vv Iv6 / IVv Vv Iv6 / Iv / Iv6 / | B part: IVv Vv Iv6 / IVv Vv Iv6 / IVv Vv Iv6 / Iv / Iv6 / | ||
</tt> | |||
Tab for 8-string guitar in Eb downmajor (the lowest key possible). | Tab for 8-string guitar in Eb downmajor (the lowest key possible). | ||
| Line 941: | Line 1,032: | ||
=== My old Kentucky Home (barbershop tag) === | === My old Kentucky Home (barbershop tag) === | ||
Accompanying a barbershop quartet with the Kite guitar is fairly easy, and highly recommended! However playing a tag note for note is often impossible, because tags often use a 3-5-7-8 chord voicing. This tag is an exception, except for the 2nd-to-last chord. Translation by Aaron Wolf. | |||
Vocal rendition, individual vocal tracks, sheet music, and videos: https://www.barbershoptags.com/tag-82-My-Old-Kentucky-Home In this version, the baritone's first "way" has been changed from an ^b3 to a b5, to avoid an 8ve with the tenor, and to provide the chord with a 7th. In 41edo, this Cb is the same note as the baritone's "home" note, just spelled differently. | Vocal rendition, individual vocal tracks, sheet music, and videos: https://www.barbershoptags.com/tag-82-My-Old-Kentucky-Home In this version, the baritone's first "way" has been changed from an ^b3 to a b5, to avoid an 8ve with the tenor, and to provide the chord with a 7th. In 41edo, this Cb is the same note as the baritone's "home" note, just spelled differently. | ||
| Line 1,107: | Line 1,197: | ||
| | | | | | | | ||
| ^IVv ^IVv/3 VIv | IIv V^m Vv | | | ^IVv ^IVv/3 VIv | IIv V^m Vv | | ||
</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]] | ||