Kite Guitar: Difference between revisions
moved all but two of the photos to a separate page, also other minor changes |
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This chart is the same, but extends much further. Some ratios change in the higher octaves, e.g. 16/15 becomes not 32/15 but 15/7. | This chart is the same, but extends much further. Some ratios change in the higher octaves, e.g. 16/15 becomes not 32/15 but 15/7. | ||
[[File:The Kite Tuning 2.png|none|thumb|900x900px]] | [[File:The Kite Tuning 2.png|none|thumb|900x900px]] | ||
This chart extends even further, showing the "rainbow zones" and the "off zones". When two guitarists play together, it's very natural for one to play chords in the lower rainbow zone, and another to solo in the higher rainbow zone. The open strings tend to be in an off zone, unless the tonic is fairly close to the nut, or else up around the | This chart extends even further, showing the "rainbow zones" and the "off zones". When two guitarists play together, it's very natural for one to play chords in the lower rainbow zone, and another to solo in the higher rainbow zone. The open strings tend to be in an off zone, unless the tonic is fairly close to the nut, or else up around the 3rd or 4th dot. [[File:The Kite Tuning 3.png|none|thumb|900x900px]] | ||
This chart shows the actual notes of an 8-string Kite guitar. The notes circled in red are the open strings of a 12-edo guitar. The ideal string gauges for this tuning are discussed in the "For Luthiers" section. Every 4th fret has a dot, and every 12th fret has a double dot. Three dots equals a 5th. | This chart shows the actual notes of an 8-string Kite guitar. The notes circled in red are the open strings of a 12-edo guitar. The ideal string gauges for this tuning are discussed in the "For Luthiers" section. Every 4th fret has a dot, and every 12th fret has a double dot. Three dots equals a 5th. | ||
[[File:The Kite Tuning 4.png|none|thumb|900x900px]] | [[File:The Kite Tuning 4.png|none|thumb|900x900px]] | ||
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[[File:Fretboard 4-6.png|none|thumb|900x900px]] | [[File:Fretboard 4-6.png|none|thumb|900x900px]] | ||
This chart shows all the notes, not just the natural ones. But it's too much work to memorize all this. Just learn where the 7 natural notes are, and learn your intervals. Since the open strings don’t work as well, one tends to think more in terms of intervals than notes anyway. | This chart shows all the notes, not just the natural ones. But it's too much work to memorize all this. Just learn where the 7 natural notes are, and learn your intervals. Since the open strings don’t work as well, one tends to think more in terms of intervals than notes anyway. | ||
[[File:The Kite Tuning 5.png|none|thumb|900x900px]]Some keys are somewhat awkward to play in. For example, a vG scale is either too close to the nut to have a plain major 2nd, or else way up at the 16th fret where the fret spacing becomes too cramped to play comfortably. There's a "sweet spot" for the tonic on the lowest 3 strings, from about the 5th fret to about the 12th fret. This defines a 3x8 rectangle containing 24 keys, roughly every other one of the 41 possible keys. The lowest string of an 8-string is tuned to vD not D so that the common keys of C, G, D, A and E fall in this sweet spot. D is tuned to A-440 standard pitch, to bring these 5 keys as close to 12-edo as possible. D agrees exactly, A is 2.5¢ sharp of 12-edo, E is 5¢ sharp, and so forth along the spiral of 5ths. | [[File:The Kite Tuning 5.png|none|thumb|900x900px]]Some keys are somewhat awkward to play in. For example, a vG scale is either too close to the nut to have a plain major 2nd, or else way up at the 16th fret where the fret spacing becomes too cramped to play chords comfortably. There's a "sweet spot" for the tonic on the lowest 3 strings, from about the 5th fret to about the 12th fret. This defines a 3x8 rectangle containing 24 keys, roughly every other one of the 41 possible keys. The lowest string of an 8-string is tuned to vD not D so that the common keys of C, G, D, A and E fall in this sweet spot. D is tuned to A-440 standard pitch, to bring these 5 keys as close to 12-edo as possible. D agrees exactly, A is 2.5¢ sharp of 12-edo, E is 5¢ sharp, and so forth along the spiral of 5ths. | ||
In 12-edo, all 12 keys are needed so that a vocalist can get within 50¢ of their optimal range. In 41-edo, using only these 24 keys, one can get within 30¢ of the optimal range. 30¢ from optimal is sufficient, 15¢ from optimal is overkill, so the other 17 keys aren't really needed. The 24 most comfortable keys on a 6-string guitar are: A vBb ^Bb vB ^B C ^C vDb Db ^C# D vEb ^Eb vE E ^E vF ^F Gb ^F# G vAb ^Ab ^G#. | In 12-edo, all 12 keys are needed so that a vocalist can get within 50¢ of their optimal range. In 41-edo, using only these 24 keys, one can get within 30¢ of the optimal range. 30¢ from optimal is sufficient, 15¢ from optimal is overkill, so the other 17 keys aren't really needed. The 24 most comfortable keys on a 6-string guitar are: A vBb ^Bb vB ^B C ^C vDb Db ^C# D vEb ^Eb vE E ^E vF ^F Gb ^F# G vAb ^Ab ^G#. | ||
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== Translating 12-edo Songs to 41-edo == | == Translating 12-edo Songs to 41-edo == | ||
Obviously, the Kite Guitar can do much more than simply play conventional music. But a good starting place is to take what you know and find it on the Kite Guitar. Translating 12-edo music is sometimes problematic but never impossible. | Obviously, the Kite Guitar can do much more than simply play conventional music. But a good starting place is to take what you know and find it on the Kite Guitar. Translating 12-edo music is sometimes problematic but never impossible. Generally the translated version is an improvement, because it's so well tuned. | ||
One way to translate a conventional song is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use the spiral charts in the "About 41-edo" section. | One way to translate a conventional song is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use the spiral charts in the "About 41-edo" section. | ||
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For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected. | For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected. | ||
However, if the I chord has no | However, if the I chord has no 7th, either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv works well. The IIvm7 chord is more connected to the V chord than II^m7. This also works if the I chord has a minor 7th, i.e. Iv7. | ||
Actual song translations are on separate xenwiki pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here! | Actual song translations are on separate xenwiki pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here! If you're translating a song that's already been translated, please link both translations to each other. | ||
=== [[Song_Translations_by_Kite_Giedraitis_to_The_Kite_Guitar|Song Translations by Kite Giedraitis to The Kite Guitar]] === | === [[Song_Translations_by_Kite_Giedraitis_to_The_Kite_Guitar|Song Translations by Kite Giedraitis to The Kite Guitar]] === | ||
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** [[Song Translations by Kite Giedraitis to The Kite Guitar#Linus and Lucy .28Vince Guaraldi.29|Linus and Lucy (Vince Guaraldi)]] | ** [[Song Translations by Kite Giedraitis to The Kite Guitar#Linus and Lucy .28Vince Guaraldi.29|Linus and Lucy (Vince Guaraldi)]] | ||
* [[Song Translations by Kite Giedraitis to The Kite Guitar#Barbershop.2C World Music.2C Microtonal Music.2C etc.|Barbershop, World Music, Microtonal Music, etc.]] | * [[Song Translations by Kite Giedraitis to The Kite Guitar#Barbershop.2C World Music.2C Microtonal Music.2C etc.|Barbershop, World Music, Microtonal Music, etc.]] | ||
** [[Song Translations by Kite Giedraitis to The Kite Guitar#Kusuva Musha .28traditional mbira.29|Kusuva Musha (traditional mbira)]] | ** [[Song Translations by Kite Giedraitis to The Kite Guitar#Kusuva Musha .28traditional mbira.29|Kusuva Musha (traditional mbira)]] | ||
** [[Song Translations by Kite Giedraitis to The Kite Guitar#Mizarian Porcupine Overture .28Herman Miller.2C microtonal.29|Mizarian Porcupine Overture (Herman Miller, microtonal)]] | ** [[Song Translations by Kite Giedraitis to The Kite Guitar#Mizarian Porcupine Overture .28Herman Miller.2C microtonal.29|Mizarian Porcupine Overture (Herman Miller, microtonal)]] | ||
=== [[Song Translations by Aaron Wolf to The Kite Guitar]] === | === [[Song Translations by Aaron Wolf to The Kite Guitar]] === | ||
* [[Song Translations by Aaron Wolf to The Kite Guitar#Auld Lang Syne|Auld Lang Syne]] | * [[Song Translations by Aaron Wolf to The Kite Guitar#Auld Lang Syne|Auld Lang Syne (traditional)]] | ||
* [[Song Translations by Aaron Wolf to The Kite Guitar#My old Kentucky Home .28barbershop tag.29|My old Kentucky Home (barbershop tag)]] | |||
== Original Compositions == | == Original Compositions == | ||