Kite Guitar Originals by Kite Giedraitis: Difference between revisions

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== II-V-I riff in A downmajor ==

Play with a Bossa Nova feel. When translating IIm7 - V7 - IM7, I don't like to use a Vv7 chord, because it sounds to me more resolved than the IvM7. The I chord doesn't feel like the final chord, and the progression feels incomplete. I much prefer V^7 when resolving to IvM7.

<tt>

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== The Relative Song ==

So-called because it switches between relative major and minor. No roman numerals because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression.

So-called because it switches between relative major and minor. No roman numerals, because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression.

Each column is a 16th note~~. Play uptempo~~. It has nice long pauses after the chromatic bass runs, plenty of time to get your fingers in place for the strumming. Just for fun, you can start on the ^G chord or even the ^D chord.

Each column is a 16th note. It has nice long pauses after the chromatic bass runs, plenty of time to get your fingers in place for the strumming. Just for fun, you can start on the ^G chord or even the ^D chord.

<tt>

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Use this bass line to connect the chord roots. Play the full chords during the "...".

<tt>

5 v3 1 ... 1 vb3 4 ... 4 v3 vb3 ... vb3 b3 ^^5 ... ^^5 ^3 ^^1 ...

5 v3 1 ... 1 vb3 4 ... 4 v3 vb3 ... vb3 b5 ^^5 ... ^^5 ^3 ^^1 ...

</tt>

Some people simply don't hear the rapid upwards tonic drift until it's pointed out to them. Even after becoming aware of it, it still feels incredibly jarring to go from the ^^V chord to a I chord. The ear insists on hearing the ^^V chord as a V chord, and it insists on the ^^I chord coming next.

Some people simply don't hear the rapid upwards tonic drift until it's pointed out to them. Even after becoming aware of it, it still feels incredibly jarring to go from the ^^V chord to a I chord. The ear insists on hearing the ^^V chord as a V chord and not a vbVI chord, and it insists on the ^^I chord coming next.

== Latrizo Pump ==

== Latrizo Pump riff ==

The Latrizo comma divides the 5th into three up-2nds. This riff marches up to the 5th and swoops back down. This song can't be translated to 12edo, as ~~the~~ video shows.

The Latrizo comma divides the 5th into three up-2nds. This riff marches up to the 5th and swoops back down. This song can't be translated to 12edo, as this video shows:

https://www.youtube.com/watch?v=xsIqxLeMzng

@@ Line 289: / Line 289: @@
 == II-V-I riff in A downmajor ==
 Play with a Bossa Nova feel. When translating IIm7 - V7 - IM7, I don't like to use a Vv7 chord, because it sounds to me more resolved than the IvM7. The I chord doesn't feel like the final chord, and the progression feels incomplete. I much prefer V^7 when resolving to IvM7.
 <tt>
@@ Line 304: / Line 304: @@
 == The Relative Song ==
-So-called because it switches between relative major and minor. No roman numerals because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression.
+So-called because it switches between relative major and minor. No roman numerals, because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression.
-Each column is a 16th note. Play uptempo. It has nice long pauses after the chromatic bass runs, plenty of time to get your fingers in place for the strumming. Just for fun, you can start on the ^G chord or even the ^D chord.
+Each column is a 16th note. It has nice long pauses after the chromatic bass runs, plenty of time to get your fingers in place for the strumming. Just for fun, you can start on the ^G chord or even the ^D chord.
 <tt>
@@ Line 362: / Line 362: @@
 Use this bass line to connect the chord roots. Play the full chords during the "...".
 <tt>
-v3 1 ...  1 vb3 4 ...  4 v3 vb3 ...  vb3 b3 ^^5 ... ^^5 ^3 ^^1 ...
+v3 1 ...  1 vb3 4 ...  4 v3 vb3 ...  vb3 b5 ^^5 ... ^^5 ^3 ^^1 ...
 </tt>
-Some people simply don't hear the rapid upwards tonic drift until it's pointed out to them. Even after becoming aware of it, it still feels incredibly jarring to go from the ^^V chord to a I chord. The ear insists on hearing the ^^V chord as a V chord, and it insists on the ^^I chord coming next.
+Some people simply don't hear the rapid upwards tonic drift until it's pointed out to them. Even after becoming aware of it, it still feels incredibly jarring to go from the ^^V chord to a I chord. The ear insists on hearing the ^^V chord as a V chord and not a vbVI chord, and it insists on the ^^I chord coming next.
-== Latrizo Pump ==
+== Latrizo Pump riff ==
-The Latrizo comma divides the 5th into three up-2nds. This riff marches up to the 5th and swoops back down. This song can't be translated to 12edo, as the video shows.
+The Latrizo comma divides the 5th into three up-2nds. This riff marches up to the 5th and swoops back down. This song can't be translated to 12edo, as this video shows:
 https://www.youtube.com/watch?v=xsIqxLeMzng