Kite Guitar: Difference between revisions
→Translating 12-edo Songs to 41-edo: moved the list of songs to a new page. Added a paragraph emphasizing that translations can vary. |
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== Translating 12-edo Songs to 41-edo == | == Translating 12-edo Songs to 41-edo == | ||
Song translations are collected at[[Kite_Guitar_Translations|Kite Guitar Translations]]. Many songs have been translated and more are constantly being added! | |||
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. | 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. | ||
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Often there is only one obvious way to translate a song. I - V - VIm - IV becomes Iv - Vv - vVI^m - IVv. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv. | Often there is only one obvious way to translate a song. I - V - VIm - IV becomes Iv - Vv - vVI^m - IVv. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv. | ||
In general, chords shouldn't use offperfect intervals (^4, v4, ^5 or v5). Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. | In general, chords shouldn't use offperfect intervals (^4, v4, ^5 or v5). Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. In general, avoid using plain major and minor 3rds and 6ths in a chord. | ||
Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The two most common commas that cause issues are the [[81/80|Gu]] and [[64/63|Ru]] commas. The choice of which two chords in the pump contain the pitch shift can be tricky. Generally, root movement by an offperfect interval is avoided. This usually necessitates a root movement by a plain major or minor interval. | Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The two most common commas that cause issues are the [[81/80|Gu]] and [[64/63|Ru]] commas. The choice of which two chords in the pump contain the pitch shift can be tricky. Generally, root movement by an offperfect interval is avoided. This usually necessitates a root movement by a plain major or minor interval. | ||
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For example, I - VIm - IIm - V7 - I is a Gu pump. Without the pump, I - VIm would be translated as Iv - vVI^m, to avoid shifts. The roots would move by a vM6. With the pump, this might translate to Iv - VI^m - II^m - Vv7 - Iv. The first root movement is by a M6. The tonic and the major 3rd both shift between the I chord and the VI chord. | For example, I - VIm - IIm - V7 - I is a Gu pump. Without the pump, I - VIm would be translated as Iv - vVI^m, to avoid shifts. The roots would move by a vM6. With the pump, this might translate to Iv - VI^m - II^m - Vv7 - Iv. The first root movement is by a M6. The tonic and the major 3rd both shift between the I chord and the VI chord. | ||
Likewise, I7 - IV7 - V7 - I7 is a Ru pump. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I. | Likewise, I7 - IV7 - V7 - I7 is a Ru pump. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the scale's 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I. | ||
For rapid comma pumps of only two measures, a shift halfway through the pump is often best. See [[Song Translations by Kite Giedraitis to The Kite Guitar#I Will .28The Beatles.29|Kite's translation of "I Will"]]. | For rapid comma pumps of only two measures, a shift halfway through the pump is often best. See [[Song Translations by Kite Giedraitis to The Kite Guitar#I Will .28The Beatles.29|Kite's translation of "I Will"]]. | ||
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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 both progressions feel 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 both progressions feel 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. | ||
In IIm - V7 - I, where the I chord has no 7th, Vv7 works well. The progression can be tuned either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv. The IIvm7 chord is more connected to the V chord than II^m7. The Vv7 chord also works if the I chord has a minor 7th, i.e. Iv7. | |||
Remember, these are all just guidelines, not hard and fast rules! There is often more than one good way to translate a song. | |||
=== | == Original Compositions == | ||
Like translations, these are grouped by the creator. If you have originals, feel free to create your own page and link to it here! | |||
=== [[Originals by Kite Giedraitis | === [[Kite_Guitar_Originals_by_Kite_Giedraitis|Kite Guitar Originals by Kite Giedraitis]] === | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#Underground Revolution|Underground Revolution]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#I Hear Numbers|I Hear Numbers]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#Triadic Etude|Triadic Etude]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#Blues in G|Blues in G]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#The Relative Song|The Relative Song]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#The Tri-sub song|The Tri-sub song]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#The Walking Song|The Walking Song]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#II-V-I riff in A downmajor|II-V-I riff in A downmajor]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#Latrizo Pump|Latrizo Pump riff]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#6-chord riff|6-chord riff]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#V7 - I7 riff|V7 - I7 riff]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#Im7 - V7 riff|Im7 - V7 riff]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#Fun riff|Fun riff]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#Mid-9th riff|Mid-9th riff]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#James Bond riff|James Bond riff]] | ||
* [[ | * [[Kite_Guitar_Originals_by_Kite_Giedraitis#Chromatic riff|Chromatic riff]] | ||
== Further materials == | == Further materials == | ||
=== [[Kite Guitar Exercises]] === | === [[Kite Guitar Exercises]] === | ||
The circle of 5ths, half-fret bends, etc. | Various exercises by various teachers. The circle of 5ths, half-fret bends, etc. | ||
=== [[Mathematical Basis For The Kite Guitar]] === | === [[Mathematical Basis For The Kite Guitar]] === | ||
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=== [[Kite_Giedraitis's_Categorizations_of_41edo_Scales |Scales on the Kite Guitar]] === | === [[Kite_Giedraitis's_Categorizations_of_41edo_Scales |Scales on the Kite Guitar]] === | ||
The 5 categories are pentatonic, diatonic, semitonal, chromatic and microtonal. | A theoretical exploration of 41edo scales. The 5 categories are pentatonic, diatonic, semitonal, chromatic and microtonal. | ||
=== [http://tallkite.com/misc_files/The%20Kite%20Tuning.pdf The Kite Tuning (original announcement)] === | === [http://tallkite.com/misc_files/The%20Kite%20Tuning.pdf The Kite Tuning (original announcement)] === | ||
May 2019 paper | The May 2019 paper, the original announcement of the discovery (16 page pdf). | ||