Kite Guitar translations by Kite Giedraitis: Difference between revisions
mNo edit summary |
→Fast Car (Tracy Chapman): added advice for retuning strings |
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| Line 174: | Line 174: | ||
2 - - - | - - 14 - | 14 - - 14 | - - 14 - | 2 - - - | - - 14 - | 14 - - 14 | - - 14 - | ||
- - - 0 | - - - - | 15 - - 12 | - - - - | - - - 0 | - - - - | 15 - - 12 | - - - - | ||
</tt> | </tt> | ||
This lacks the droning open string sound of the original. | This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret. | ||
<tt> | |||
- - - 0 | - 0 - - | - - - - | - - - - | |||
0 2 0 - | - - - - | 14 (17) 14 12 | - 12 - - (tune this string up 1 fret) | |||
0 - 0 0 | - - 0 - | 0 - - 0 | - - 0 - (tune this string up 1 fret) | |||
- - - - | - - - - | - - - - | - - - - | |||
2 - - - | - - - - | - - - - | - - - - | |||
- - - 0 | - - - - | 15 - - 12 | - - - - | |||
</tt> | |||
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. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. <b>Bolded</b> notes are capo'ed open strings: | |||
<tt> | <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 - - (capo this string up 1 fret) | ||
<b>1</b> - <b>1</b> <b>1</b> | - - <b>1</b> - | <b>1</b> - - <b>1</b> | - - <b>1</b> - | <b>1</b> - <b>1</b> <b>1</b> | - - <b>1</b> - | <b>1</b> - - <b>1</b> | - - <b>1</b> - (capo this string up 1 fret) | ||
- - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - - - | ||
2 - - - | - - - - | - - - - | - - - - | 2 - - - | - - - - | - - - - | - - - - | ||
| Line 197: | Line 204: | ||
Vv 12 . 11 13 13 . | Vv 12 . 11 13 13 . | ||
</tt> | </tt> | ||
=== Hotel California (The Eagles) === | === Hotel California (The Eagles) === | ||
Revision as of 01:49, 14 September 2020
Kite Giedraitis's translations for the 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.
The original 12-edo chords are the 41-edo chords with the ups and downs omitted, unless otherwise noted.
Triadic Songs
These Boots Are Made For Walkin' (Lee Hazlewood)
The only #1 single with a microtonal bass line! (so far, anyway) https://www.youtube.com/watch?v=TDmidrIDB4o
bass run -----------------------> Iv / / / / / / / Iv / / / / / / / IVv / / / Iv / / / ^bIIIv I^m ^bIIIv I^m ^bIIIv I^m N.C.
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.
Iv Abv 4 . 3 5 5 . IVv Dbv . 6 6 5 7 . ^bIIIv ^Cbv . 3 3 2 4 . I^m Ab^m 4 . 3 5 4 .
The Iv chord is played as a v chord with a quick passing vm chord. In Ab, the frets are 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.
While the verse has a passing Ivm, the chorus has I^m. It's rare to translate a single chord to both downminor and upminor. But I^m in the verse would be much harder to play as a passing chord. And Ivm in the chorus would imply a harsh vbIII^. Some versions of this song have a major I chord during the chorus, which avoids the issue. BTW, some versions have the I and IV chords in later verses become 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.
(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)
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.
(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)
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, here's an advanced version combining the bass run with the Iv chord.
| - - 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 - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
Sleep Drifter (King Gizzard and the Lizzard Wizard)
The original is in 24-edo, which 41-edo can approximate fairly well. The scale I chose is the equi-minor scale, P1 ~2 ^m3 P4 P5 ~6 ^m7 P8 or F# ^^G ^A B C# ^^D ^E F#. I could have approximated 24edo even better by using the plain minor 3rd and 7th. But the upminor sounds better to my ear, and is less awkward to play.
There's only two chords, I^m and ^bVII^m (F#^m and ^E^m). As usual with minor scales, the 4th is fuzzy. During the ^E^m chord, the B note changes to ^B. One could consider these two chords to be F#5 and ^E5 dyads, or F#^m7 and ^E^m7 tetrads. It depends on what you call melody and what you call harmony.
There is a frequent melodic ornament that uses a hammer-on and a pull-off to rapidly move from ^^G up to G# and back, or from ^^D to D# and back. The opening riff runs down the scale from C# to F# a 12th below, using this ornament several times on the low ^^G note.
"Drifting in and out of sleep..."
F# ^E F# F# ^^D ^^D C# F# ^E F# ^A ^^D ^^D C# F# ^E F# F# ^^D ^^D C# F# ^E F# ^A ^^D* C# ^B *ornamented
"Sleep drifter sleep drifter"
^^D ^E F# ^^G ^A B C#
"I can feel you touch me..."
F# ^^G ^A ^A ^^G F# C# F# ^^G ^A C# ^^G F# F# ^^G ^A ^A ^^G F# F# ^^G ^A B ^^G F#
Good In Bed (Dua Lipa)
The chords are G^m - Cv - Fv - Dv,7. I used a plain 7th not a down 7th in the D chord to avoid frequent pitch shifts, because the vocal melody uses C a lot. In fact C could be considered the tonic, making the chords V^m - Iv - IVv - IIv,7.
Except for the chorus, the melody uses the C downmajor scale C D vE F G vA vB C. But instead of the 2nd, it's the 6th that's fuzzy, with the vA changing to A over the G^m and Dv,7 chords.
How to tune the "bad"s in the microtonal chorus? The interval between the 1st and last "bad" is about a major 2nd or minor 3rd. The singing isn't perfectly consistent, so it doesn't matter a whole lot melodically which exact note we start from. More important is that the 1st "bad" relates to the underlying chord, to make it easy to sing. My approach was just to find something on the Kite guitar that was playable and harmonized well.
D is the 5th of the G^m chord, but that seemed too low. It would be a wolfy plain M6 over the Fv chord, and would need to be lowered even more to vD to not be wolfy. ^D and Eb clashed too much with the G^m chord, and ^Eb felt too high. So that left vEb. Over the Fv chord, it makes a beautiful v7 chord. Over the G^m chord, it makes a vm6 from the root and an ^M3 from the 3rd, harsh but possible. At least the second "bad" matches the chord well.
But the downminor 3rd is 9 edosteps of 41 and an equal melody is impossible. There has to be one step that's bigger. I chose to make the last step the biggest, but other ways would work too. The second step should definitely be D, to agree with the G^m chord.
Chorus ("I know it's really bad, bad, bad, bad, bad")
C C C C C vEb D vvD Db C (3x) A G F vE vA vE D
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.
Dv / / / Dv/vC# / / / Dv/C / / / Gv/vB / / / G^m/^Bb / / / Dv A4/vC# Gv/vB / Dv/A / Av7 / Dv / / /
Relative notation. Slash chords in roman numeral notation are explained in the Notation Guide for Edos, near the end of section 3. The number after the slash indicates the interval from the root of the chord, not from the tonic of the scale.
Iv / / / Iv/vM7 / / / Iv/7 / / / IVv/3 / / / IV^m/3 / / / Iv V4/v3 IVv/3 / Iv/5 / Vv7 / Iv / / /
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.
Iv . 5 5 4 . 0 Iv/vM7 . 3 5 4 . 0 Iv/7 8 . 5 4 . 0 IVv/3 6 . 7 7 . 0 IV^m/3 5 . 7 6 . 0 (see note below) Iv . 5 5 4 . 0 (as before) V4/v3 . 3 2 4 . 0 IVv/3 6 . 7 7 . 0 (as before) Iv/5 3 . 5 4 . 0 Vv7 3 . 2 0 4 . Iv . 5 5 4 . 0 (as before)
The Blood On The Tracks version has the IVm 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 the 5th, then suddenly jumping back up to the 8ve. For Dylan's voicing, just omit the bass and play . . 7 6 . 0
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:
- - - 0 | - 0 - - | - - - - | - - - - 1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - 1 - 1 1 | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - 2 - - - | - - 14 - | 14 - - 14 | - - 14 - - - - 0 | - - - - | 15 - - 12 | - - - -
This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret.
- - - 0 | - 0 - - | - - - - | - - - - 0 2 0 - | - - - - | 14 (17) 14 12 | - 12 - - (tune this string up 1 fret) 0 - 0 0 | - - 0 - | 0 - - 0 | - - 0 - (tune this string up 1 fret) - - - - | - - - - | - - - - | - - - - 2 - - - | - - - - | - - - - | - - - - - - - 0 | - - - - | 15 - - 12 | - - - -
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. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. Bolded notes are capo'ed open strings:
- - - 0 | - 0 - - | - - - - | - - - - 1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - (capo this string up 1 fret) 1 - 1 1 | - - 1 - | 1 - - 1 | - - 1 - (capo this string up 1 fret) - - - - | - - - - | - - - - | - - - - 2 - - - | - - - - | - - - - | - - - - - - - 0 | - - - - | 15 - - 12 | - - - -
Chords for the strumming part:
IVv . 2 . 1 3 3 Iv 0 0 . 1 1 0 vVI^m . 0 2 1 1 3 Vv 12 . 11 13 13 .
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 ^^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 ^bVIv ^bIIIv IV^m Vv7
The chorus is straightforward:
^bVIv ^bIIIv Vv7 I^m ^bVIv ^bIIIv IV^m Vv7
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).
Tablature in A upminor for 6-string guitar, h = hammer on, p = pull off
I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m
- - - - 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - -
- - - 21 - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - -
- - 19 - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - -
- 19 - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - 7* 5
20 - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - 6 - -
*slide up to this note
I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m
- - - 6 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - -
- - 6 - - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - -
- 7 - - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - -
- - - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - - -
- - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - 3
6 - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - - 6 -
^bIIIv IVv ^bVIvM7 I^m ^bIIIv ^bVIIv IV4 IVv
- - - - 9 - - 9 6 - - 6 - - - - - - - - - - - - 11* 9 9 - - - - -
- - - 6 - 9 - - - 6 - - 4h6- - - 6 - - 6 18 - - 18 9 9 9 - - - - -
- - 4 - - - 7 - - - 7 - - 7 - - - 4 - - - 16 - - 7 7 7 - - - - -
- 5 - - - - - - 7 - - - - - - - - - 5 - - - 17 - - - - - - - - -
5 - - - 8 - - - - - - - - - - 3 5 - - - 17 - - - 8 - 8 - - - - 3
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - 6 -
*11p9 (pull-off)
^bIIIv IVv ^bVIvM7 I^m ^bIIIv IVv ^bVIvM7
- - - - 9 - - 9 6 - - 6 - - - - - - - - - - - 9 6 6 6 - - - - -
- - - 6 - 9 - - - 6 - - 4h6- - - - - - 6 - - 9 - 6 6 6 - - - - -
- - 4 - - - 7 - - - 7 - - 7 - - - - 4 - - 7 - - 7 7 7 - - - - -
- 5 - - - - - - 7 - - - - - - - - 5 - - - - - - 7 7 7 - - - - -
5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - -
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - -
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 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.
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv IV^m | Vv /
| | |
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m /
| | |
^bIIIv / | ^bVIIv V^m | ^bVIv IV^m | Vv /
| | |
^bIIIv / | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m /
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:
Ivm ^bIIIv ^bVIIv V^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . 1 . | 4 . . 6 4 . | 1 . . . . . | . . . . . . |
| 4 . . . . . | 4 . . . . . | 2 . . . 2 . | . . . . 2 . |
5 . | . . . . . . | 2 . . . . . | 2 . . . . . | 2 . . 5 . . |
| 3 . . . . . | . . . . . . | 0 . . . . . | 3 . . . . . |
| . . . . . . | 3 . . . . . | . . . . . . | 1 . . . . . |
^bVIv IV^m Vv
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 4 . . . . . | . . . . . . | 2 . . . . . | . . . . . . |
| 5 . . . 5 . | 5 . . 3 5 . | 3 . . . 3 . | . . . . 5 . |
| 5 . . . . . | 5 . . . . . | 3 . . . . . | 3 . . . . . |
| 3 . . . . . | 6 . . . . . | . . . . . . | 1 . . . . . |
Ivm ^bIIIv ^bVIIv V^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . 1 . | 4 . . 6 4 . | 1 . . . . . | . . . . . . |
| 4 . . . . . | 4 . . . . . | 2 . . . 2 . | . . . . 2 . |
| . . . . . . | 2 . . . . . | 2 . . . . . | 2 . . 5 . . |
| 3 . . . . . | . . . . . . | 0 . . . . . | 3 . . . . . |
| . . . . . . | 3 . . . . . | . . . . . . | 1 . . . . . |
^bVIv Vv,^m7 I^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 4 . . 2 . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . . 5 . | 3 . . 0 3 . | 5 . . . . . | 5 . . . . . |
| 5 . . . . . | 0 . . . . . | 3 . . . 3 . | . . . . . . |
| 3 . . . . . | 1 . . . . . | 3 . . . . . | . . . . . . |
^bIIIv ^bVIIv V^m
| 3 . . . . . | 3 . . 1* . . | . . . . . . | . . . . . . | * play one or
| 4 . . . . . | . . . 6* 4 . | 1 . . . . . | . . . . . . | the other,
| . . . . . . | 4 . . . . . | 2 . . . 2 . | . . . . 2 . | not both
| 2 . . . . . | 2 . . . . . | 2 . . . . . | 2 . . 5 . . |
| . . . . . . | 3 . . . . . | 0 . . . . . | 3 . . . . . |
| 3 . . . . . | . . . . . . | . . . . . . | 1 . . . . . |
^bVIv IV^m Vv
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 4 . . . . . | . . . . . . | 2 . . . . . | . . . . . . |
| 5 . . . 5 . | 5 . . 3 5 . | 3 . . . 3 . | . . . . 5 . |
| 5 . . . . . | 5 . . . . . | 3 . . . . . | 3 . . . . . |
| 3 . . . . . | 6 . . . . . | . . . . . . | 1 . . . . . |
^bIIIv ^bVIIv V^m
| 3 . . . . . | 3 . . 1* . . | . . . . . . | . . . . . . | * same
| 4 . . . . . | 4 . . 6* 4 . | 1 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | 2 . . . 2 . | . . . . 2 . |
| 2 . . . . . | 2 . . . . . | 2 . . . . . | 2 . . 5 . . |
| . . . . . . | . . . . . . | 0 . . . . . | 3 . . . . . |
| 3 . . . . . | 3 . . . . . | . . . . . . | 1 . . . . . |
^bVIv Vv,^m7 I^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 4 . . 2 . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . . 5 . | 3 . . 0 3 . | 5 . . . . . | 5 . . . . . |
| 5 . . . . . | 0 . . . . . | 3 . . . 3 . | . . . . . . |
| 3 . . . . . | 1 . . . . . | 3 . . . . . | . . . . . . |
8-string tab in A upminor. Adding the notes in parentheses creates the passing chords.
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . 3 . | 6 . . 8 6 . | 3 . . . . . | . . . . . . |
| 6 . . . . . | 6 . . . . . | 4 . . . 4 . | . . . . 4 . |
7 . | . . . . (4) . | . . 4 . . . | . . . . . . | 4 . . 7 . . |
| . . 5 . . . | . . . . . . | . . 2 . . . | 5 . . . . . |
| . . . . (3) . | 5 . . . . . | . . . . . . | . . 3 . . . |
| 6 . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | 4 . . . . . |
^bVIv IV^m Vv
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 6 . . . . . | . . . . . . | 4 . . . . . | . . . . . . |
| 7 . . . 7 . | 7 . . 5 7 . | 5 . . . 5 . | . . . . 7 . |
| . . . . . . | 7 . . . . . | . . . . . . | 5 . . . . . |
| . . 5 . . . | . . 8 . . . | . . 3 . . . | . . 3 . . . |
| . . . . . . | 6 . . . . . | . . . . . . | . . . . . . |
| 6 . . . . . | . . . . . . | 4 . . . . . | . . . . . . |
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . 3 . | 6 . . 8 6 . | 3 . . . . . | . . . . . . |
| 6 . . . . . | 6 . . . . . | 4 . . . 4 . | . . . . 4 . |
| . . . . (4) . | . . 4 . . . | . . . . . . | 4 . . 7 . . |
| . . 5 . . . | . . . . . . | . . 2 . . . | 5 . . . . . |
| . . . . (3) . | 5 . . . . . | . . . . . . | . . 3 . . . |
| 6 . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | 4 . . . . . |
^bVIv Vv,^m7 I^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 6 . . 4 . . | . . . . . . | . . . . . . | . . . . . . |
| 7 . . . 7 . | 5 . . 2 5 . | 7 . . . . . | 7 . . . . . |
| . . . . . . | 2 . . . . . | 5 . . . 5 . | . . . . . . |
| . . 5 . . . | . . 3 . . . | . . 5 . . . | . . . . . . |
| . . . . . . | . . . . . . | 6 . . . . . | 6 . . . . . |
| 6 . . . . . | 4 . . . . . | . . . . . . | . . . . . . |
^bIIIv ^bVIIv V^m
| 5 . . . . . | 5 . . 3* . . | . . . . . . | . . . . . . | * play one or
| 6 . . . . . | 6 . . 8* 6 . | 3 . . . . . | . . . . . . | the other,
| . . . . 6 . | . . . . . . | 4 . . . 4 . | . . . . 4 . | not both
| . . 4 . . . | . . 4 . . . | . . . . . . | 4 . . 7 . . |
| . . . . . . | . . . . . . | . . 2 . . . | 5 . . . . . |
| 5 . . . . . | 5 . . . . . | . . . . . . | . . 3 . . . |
| . . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | 4 . . . . . |
^bVIv IV^m Vv
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 6 . . . . . | . . . . . . | 4 . . . . . | . . . . . . |
| 7 . . . 7 . | 7 . . 5 7 . | 5 . . . 5 . | . . . . . . |
| . . . . . . | 7 . . . . . | . . . . . . | 5 . . . . . |
| . . 5 . . . | . . 8 . . . | . . 3 . . . | . . 3 . . . |
| . . . . . . | 6 . . . . . | . . . . . . | . . . . . . |
| 6 . . . . . | . . . . . . | 4 . . . . . | . . . . . . |
^bIIIv ^bVIIv V^m
| 5 . . . . . | 5 . . 3* . . | . . . . . . | . . . . . . | * same
| 6 . . . . . | 6 . . 8* 6 . | 3 . . . . . | . . . . . . |
| . . . . 6 . | . . . . . . | 4 . . . 4 . | . . . . 4 . |
| . . 4 . . . | . . 4 . . . | . . . . . . | 4 . . 7 . . |
| . . . . . . | . . . . . . | . . 2 . . . | 5 . . . . . |
| 5 . . . . . | 5 . . . . . | . . . . . . | . . 3 . . . |
| . . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | 4 . . . . . |
^bVIv Vv,^m7 I^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 6 . . 4 . . | . . . . . . | . . . . . . | . . . . . . |
| 7 . . . 7 . | 5 . . 2 5 . | 7 . . . . . | 7 . . . . . |
| . . . . . . | 2 . . . . . | 5 . . . 5 . | . . . . . . |
| . . 5 . . . | . . 3 . . . | . . 5 . . . | . . . . . . |
| . . . . . . | . . . . . . | 6 . . . . . | 6 . . . . . |
| 6 . . . . . | 4 . . . . . | . . . . . . | . . . . . . |
And I Love Her (The Beatles)
This song switches between relative major and minor so smoothly, it's hard to say what key it's in. Here it's written out as major.
This song has an ascending Meantone comma pump. While comma pumps are usually handled with pitch shifts, this is a rare example of a song for which tonic drift works. Tonic drift is easier to accept if it’s ascending, not descending. It only drifts up after the chorus, and this upward drift is arguably a nice touch. The Beatles changed key up a semitone at that point, and this is just a more subtle version of that.
1st verse: vII^m vVI^m vII^m vVI^m | vII^m vVI^m IVv Vv | Iv /
| |
chorus: vVI^m Vv vVI^m vIII^m | vVI^m vIII^m Vv Vv7 |
| |
2nd verse: II^m VI^m II^m VI^m | II^m VI^m ^IVv ^Vv | ^Iv /
Every Breath You Take (The Police)
Lots of added 9th chords. The final chord of the verse section is sometimes Iv,9, sometimes vVI^m,9. The chords in the bridge are power chords, but I added the downmajor 3rd. The heavy distortion prevents adding a 12-edo 3rd, but the sweeter 41-edo 3rd works fine! Perhaps the downminor 7th could be added as well?
verse | Iv,9 / vVI^m,9 / | IV5,9 V5,9 Iv,9 / |
| | |
chorus | IV5,9 IV5,v7 Iv,9 / | IIv,9 / V5,9 / |
| | |
bridge | ^bVIv / ^bVIIv / | ^bVIv / ^bVIIv / | ^bVIv / |
| |
outro | Iv,9 / vVI^m,9 IV5,vM7 |
Tab for 6-string guitar, in the key of vvB
verse - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9
- - - - | - - - - | - - - - | - - - -
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 -
- - - - | - - - - | - - - - | - - - -
2 - - - | - - - - | 2 - - - | - - - -
- - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - - vVI^m,9
- - 1 - | 3 1 - 1 | - - 1 - | 3 1 - 1
- - - - | - - - - | - - - - | - - - -
- 2 - 2 | - - 2 - | - 2 - 2 | - - 2 -
- - - - | - - - - | - - - - | - - - -
3 - - - | - - - - | 3 - - - | - - - -
- - - - | - - - - | - - 12 - | - - - - IV5,9 V5,9
- - 15 - | - - - - | - - - - | 15 - - -
- - - - | 18 - - - | - 13 - 13 | - 13 - 13
- 16 - 16 | - 16 - 16 | - - - - | - - - -
- - - - | - - - - | 14 - - - | - - 14 -
17 - - - | - - 17 - | - - - - | - - - -
- - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9
- - - - | - - - - | - - - - | - - - -
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 -
- - - - | - - - - | - - - - | - - - -
2 - - - | - - - - | 2 - - - | - - - -
- - - - | - - - - | - - - - | - - - -
chorus - - - - | - - - - | - - - - | - - - - IV5,9 IV5,v7
- - 15 - | - - - - | - - - - | - - - -
- - - - | 18 - - - | - - 18 - | 14 - - -
- 16 - 16 | - 16 - 16 | - 16 - 16 | - 16 - 16
- - - - | - - - - | - - - - | - - - -
17 - - - | - - 17 - | 17 - - - | - - 17 -
- - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9
- - - - | - - - - | - - - - | - - - -
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 -
- - - - | - - - - | - - - - | - - - -
2 - - - | - - - - | 2 - - - | - - - -
- - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - - IIv,9
- - 10 - | 13 - - - | - - 10 - | 13 - - -
- - - - | - - - - | - - - - | - - - -
- 11 - 11 | - 11 - 11 | - 11 - 11 | - 11 - 11
- - - - | - - - - | - - - - | - - - -
12 - - - | - - 12 - | 12 - - - | - - 12 -
- - 12 - | - - - - | - - 12 - | - - - - V5,9
- - - - | 15 - - - | - - - - | 15 - - -
- 13 - 13 | - 13 - 13 | - 13 - 13 | - 13 - 13
- - - - | - - - - | - - - - | - - - -
14 - - - | - - 14 - | 14 - - - | - - 14 -
- - - - | - - - - | - - - - | - - - -
bridge 17 - - - | - - - - | - - - - | - - - - ^bVIv
17 - - - | - - - - | - - - - | - - - -
15 - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - -
16 - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - -
14 - - - | - - - - | - - - - | - - - - ^bVIIv
12 - - - | - - - - | - - - - | - - - -
13 - - - | - - - - | - - - - | - - - -
13 - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - -
etc.
outro - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9
- - - - | - - - - | - - - - | - - - -
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 -
- - - - | - - - - | - - - - | - - - -
2 - - - | - - - - | 2 - - - | - - - -
- - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - - vVI^m,9 IV5,vM7
- - 1 - | 3 1 - 1 | - - - - | - - - -
- - - - | - - - - | - - 18 - | 16 - - -
- 2 - 2 | - - 2 - | - 16 - 16 | - 16 - 16
- - - - | - - - - | - - - - | - - - -
3 - - - | - - - - | 17 - - - | - - 17 -
Tetradic Songs
I Will (The Beatles)
This song pumps the 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.
Fv vD^m7 Gvm7 Cv7 | Fv vD^m vA^m
|
Fv7 Bbv Cv7 vD^m | Fv Bbv Cv7
|
Fv vD^m7 Gvm7 Cv7 |
Bbv vA^m vD^m7 / | Gvm7 Cv7 Fv Fv7
|
Bbv vA^m vD^m7 / | Gv7 / Cv7 /
Love Is A Losing Game (Amy Winehouse)
Source for the chords: https://www.youtube.com/watch?v=l3NN5jywLBs
intro: F^dim7
main: CvM7 Fv/G F^m7 CvM7 (2x)
vA^m7 vD^m7 F^m7 CvM7
CvM7 Fv/G F^m7 CvM7
F^dim7 G#vdim7
intro: IV^dim7
main: IvM7 IVv/2 IV^m7 IvM7 (2x)
vVI^m7 vII^m7 IV^m7 IvM7
IvM7 IVv/2 IV^m7 IvM7
IV^dim7 #Vvdim7
No comma pumps, in fact every chord except for the two dim7 chords contains the tonic. The chords are mostly 5-limit.
The IV/2 chord can be thought of as a V11no35 chord. This is an innate-comma chord. The 7th and 11th must make a perfect 5th. The 11th should be plain (8/3). The 9th should too (9/4). It should also be 5/4 above the 7th. Not all of these can be true. This translation uses IVv/2 = V11(v9)no35. The down-9th is a somewhat wolfy 20/9 or 11/5. It's a little awkward to play. It helps to finger the bass note last. Another possibility is ^IVv/v2 = V^9,^11no35 = x3xx110. The wolfy up-11th is 27/10 or 19/7. It causes a pitch shift for the tonic.
in 12edo, the two dim7 chords are equivalent, and can be thought of as a V7b9noR chord. There are several ways translate them to 41edo. For the first chord, I chose to make the root and 3rd match the IV^m7 chord. For the second chord, I chose to keep as many common notes as possible with the previous chord, and to have the 3rd match the 7th of the following chord.
A note-for-note translation to plain C isn't possible because there is no low F on the guitar. So this translation is in ^C downmajor, for a 7-string guitar in low-7 tuning.
^F^dim7 . 20 . 17 16 20 . ^CvM7 . . 5 . 4 4 6 ^Fv/^G . 3 . 7 7 6 . ^F^m7 6 . . 4 6 6 . ^CvM7 (as before) A^m7 . 6 . . 4 6 6 D^m7 . . 8 . 7 6 8 ^F^m7 (as before) ^CvM7 (as before) ^F^dim7 (as before) ^G#vdim7 . . 19 . 16 14 18
The picking pattern:
- - 6 - | - 6 - - | - - - - | - - - - - - 4 - | - 4 - - | - - 6 - | - 6 - - - 4 - - | - 4 - - | - - 7 - | - 7 - - etc. - - - - | - - - - | - 7 - - | - 7 - - 5 - - 5 | 5 - - - | - - - - | - - - - - - - - | - - - - | 3 - - 3 | 3 - - - - - - - | - - - - | - - - - | - - - -
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 / ^Abv7 / | Gv7 / / /
|
Cv7 G^m vA^m Gvm Cv9 | Cv7 / / /
|
Gv7 / vA^m7 / | vB^m7 / vBb^m7 /
|
vA^m7 / / / | C^m7 / / /
|
Gv7 / Cv7 / | Gv7 / Dvaug /
In relative notation:
Iv7 V^m vVI^m Vvm Iv9 | IVv7 I^m vII^m Ivm IVv9
|
Iv7 / ^bIIv7 / | Iv7 / / /
|
IVv7 I^m vII^m Ivm IVv9 | IVv7 / / /
|
Iv7 / vII^m7 / | vIII^m7 / vbIII^m7 /
|
vII^m7 / / / | IV^m7 / / /
|
Iv7 / IVv7 / | Iv7 / Vvaug /
Chords for 6-string guitar, in A downmajor
Iv7 6 . 5 3 7 . V^m . . 5 4 4 . fingering is 3 2 2 vVI^m . . 8 7 7 . slide into this chord from the previous D^m Vvm . . 5 3 4 . actually the top part of a Iv9 chord, fingering is 3 1 2 Iv9 6 . 5 3 4 . actually a Gv9no3, fingering is 4 . 3 1 2 IVv7 . 8 8 7 5 . I^m . . . 7 6 6 fingering is 3 2 2 vII^m . . . 10 9 9 slide into this chord from the previous G^m Ivm . . . 7 5 6 fingering is 3 1 2 IVv9 . 8 . 7 5 6 fingering is 4 . 3 1 2 ^bIIv7 8 . 7 5 9 . vII^m7 9 . 8 7 9 . vIII^m7 . 6 . 5 4 6 vbIII^m7 . 4 . 3 2 4 IV^m7 . 8 7 7 6 . some people play a different chord here Vvaug . . 5 5 6 6 could be translated as Vv(^^5) which is . . 5 5 5 6
I Will Survive (Gloria Gaynor)
This song pumps the Saruyo comma, which equates 21/20 to 256/243. As a result, several pitches shift a comma flat during the progression, but then shift back to where they started. On the Kite guitar, the chord progression walks up the neck and then leaps down 12 frets, only to walk up back to where it started.
A^m7 D^m7 Gv7 CvM7 FvM7 Bvm7(b5) Esus4 Ev7
In relative notation:
I^m7 IV^m7 bVIIv7 bIIIvM7 bVIvM7 IIvm7(b5) Vsus4 Vv7
Tab for 6-string guitar in the key of D upminor:
I^m7 . 8 . 7 6 8 IV^m7 . . 10 9 9 8 bVIIv7 11 . 10 8 12 . bIIIvM7 . 13 13 12 12 . bVIvM7 . 1 1 0 0 2 possible fingering . 1 2 . . 3 IIvm7(b5) . . 5 3 2 2 a down-halfdim chord Vsus4 6 . 5 7 9 . Vv7 6 . 5 3 7 .
Tab for 6-string guitar in the key of ^Bb upminor:
I^m7 8 . 7 6 8 . IV^m7 . 10 . 9 8 10 bVIIv7 . . 12 12 11 9 bIIIvM7 13 . 12 12 14 . bVIvM7 1 . 0 0 2 1 possible fingering 1 . . . 3 2 IIvm7(b5) . 5 3 2 2 . a down-halfdim chord Vsus4 . . 7 9 6 8 Vv7 . . 7 7 6 4
Manhattan Island Serenade (Leon Russell)
This particular translation adds 7ths to all the chords and features ^7 and ^9 chords resolving to ^m7 and v7 chords. The key is upminor, even though downminor is usually better than upminor for bluesy songs. But this song modulates to the relative major, and starting in downminor would lead to a dissonant upmajor key.
E^m7 / A^m7 / | B4 B^7 E^m7 /
|
^Cv7 / ^Gv7 / | ^Cv7 / ^Gv7 B4 B^7
|
E^m7 / A^m7 / | B4 B^7 E^m7 /
|
^Cv7 / ^Gv7 / | ^Cv7 / B4 B^7
^Gv7 ^Dv7 E^m7 ^Gv7 | ^Cv7 B^7 A^9 ^Cv7
|
^Gv7 B^7 E^m7 ^Gv7 | ^Cv7 / ^Gv7 B^7
E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda)
In relative notation:
I^m7 / IV^m7 / | V4 V^7 I^m7 /
|
^bVIv7 / ^bIIIv7 / | ^bVIv7 / ^bIIIv7 V4 V^7
|
I^m7 / IV^m7 / | V4 V^7 I^m7 /
|
^bVIv7 / ^bIIIv7 / | ^bVIv7 / V4 V^7
^bIIIv7 ^bVIIv7 I^m7 ^bIIIv7 | ^bVIv7 V^7 IV^9 ^bVIv7
|
^bIIIv7 V^7 I^m7 ^bIIIv7 | ^bVIv7 / ^bIIIv7 V^7
I^m7 ^bIIIv7 ^bVIv7 / | IV^9 ^bVIv7 ^bIIIv7 / (coda)
Chords for six-string guitar in the key of vBb upminor:
I^m7 7 . . 5 7 7 high-3-5 voicing, fingering is 2 1 3 4 IV^m7 . 9 . 8 7 9 V4 . . 6 8 5 7 fingering is 2 4 1 3 V^7 . . 6 7 5 4 fingering is 3 4 2 1, unfortunately an awkward shift from V4 ^bVIv7 . . 8 8 7 5 could instead use a low-5 voicing ^bIIIv7 . 6 . 5 3 7 ^bVIIv7 4 . 3 1 5 . IV^9 . 9 10 8 7 7
Girl From Ipanema (Antônio Carlos Jobim)
The famous melody is not written out, but for each chord, each note (i. e. pitch) of the melody is written once only. For example, the "Tall and tan and young and lovely" line has the melody 9 7 7 6 9 7 7 7, but only the notes 9 7 and 6 are shown. The melody notes are shown in 3 ways: a (string, fret) format that shows where it's played on guitar, the note's interval from the tonic, and the note's interval from the current chord's root.
The A part has a Meantone comma issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. If a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.
In the B part, this translation has the song pumping the Layo comma, causing it to travel around the fingerboard quite a bit. The melody strays quite far from the original key, using e.g. ^5 and ^8. These notes seem far less offensive in the B part than in the A part, because there is no I chord in the entire B part.
The harmonies are translated as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is vB, which is far from the original key of F. That key was chosen so that the first #11 chord could take advantage of an open string. Unfortunately, the second #11 chord can't do that, so a dom7addb5 chord is used instead.
In the two #11 chords near the end, the #11 could have been translated as 11/4, a ~11. But arguably the reason the 9th is flat is to justify/reinforce the #11. In 12-edo, the b9 along with the b7 and #11 create a harmonious 1st inversion major triad. In 41-edo, since the b7 is 7/4, the b9 must be 21/10 and the #11 must be 14/5. To make this upper structure clearer, in the chord name the 11th is called a b12, not a v#11.
FvM9 / Gv6 / | vG^m7 F#v7(b5) FvM7 F#v7(b5)
|
F#vM7 / Bv7 / | F#^m9 / ^Dv7 /
|
^G^m9 / vvEv7 / | A^m7 Dv7b9b12 G^m7 Cv7b9b12
Relative notation.
IvM9 / IIv6 / | vII^m7 #Iv7(b5) IvM7 #Iv7(b5)
|
#IvM7 / #IVv7 / | #I^m9 / ^VIv7 /
|
^II^m9 / ~VIIv7 / | III^m7 VIv7b9b12 II^m7 Vv7b9b12
Tab in vB, with fingerings, for 6-string guitar:
----------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,
3 4 2 2 1 9 v7 6 (from tonic) the 9th is supplied by the melody,
9 v7 6 (from root) and this chord could be a vM7 chord instead.
IIv6 . 6 6 8 7 . (2,7) (3,8) (3,5)
1 1 3 2 9 v7 6
8 v6 5
vII^m7 12 11 11 10 . . (3,10) (4,11) (4,8) Could have been an ^m9 chord.
4 2 3 1 8 v6 5 Could also have been a II^m7 chord, see above.
^b7 5 ^4
#Iv7(b5) 11 11 8 8 . . (3,8) (4,8) (5,11) Could be called an ^bII chord.
3 4 1 1 v7 5 4
vb7 b5 v3
IvM7 9 9 8 8 . . (4,8) The fingering is chosen to easily slide into
3 4 1 1 5 the next chord.
5
#Iv7(b5) 11 11 8 8 . .
3 4 1 1
#IvM7 11 11 10 10 . . (3,10) (3,12) (4,13) Could have been an ^m9 chord.
3 4 1 1 8 ^b9 b7 Could be called an ^bII chord.
v7 8 v6
#IVv9no5 . 13 13 . 10 11 (4,10) (4,13) If the melody supplies the 9th, could be a v7 chord.
3 4 1 2 ^b6 b7
9 v10
#I^m9 11 10 10 9 9 . (2,9) (2,1) (3,12) If the melody supplies the 9th, could be a ^m7 chord.
4 3 2 2 1 ^b10 ^10 #8 The ^b10 from the tonic can be thought of as a #9.
9 ^b10 8
^VIv7 . 10 12 12 . 9 (3,9) (3,12) Should be a v9 chord, but not enough strings.
2 3 4 1 ^7 #8 Could start with a v7sus2 chord . 10 12 9 . 9 = 2 3 1 1
9 v10 then end the bar with the v7 chord shown here.
^II^m9 13 12 12 11 11 . (2,11) (2,13) (3,14) If the melody supplies the 9th, could be a ^m7 chord.
4 2 3 1 1 ^10 ~11 ^9
9 ^b10 8
~VIIv7 . 12 14 14 . 11 (3,11) (3,14) (2,11) (2,13) Again, should really be a v9 chord.
2 3 4 1 ^^8 ^9 ^10 ~11 Again, could start with a v7sus2 chord and end with a v7.
9 v10 b12 12
III^m7 . . 3 2 2 1 (2,16)(3,2)(3,5)(2,2)(2,4)(1,1)
4 2 3 1 ^12 ^5 6 7 ^8 ^9
^b10 ^b3 4 5 v6 ^b7
VIv7b9b12no3 4 . 3 1 0 2 (1,2) (1,4) Could instead be a v7b9b12no5 chord, 4 4 . 1 0 2
4 3 1 2 b10 10 If the melody supplies the b12th, could be a v7b9 chord,
b12 12 played as 4 4 3 1 0 .
II^m7 . 6 5 5 4 . (1,6)(4,5)(4,8)(3,5)(3,8)(2,4) (3,8) could be (2,2) = 7 = 6, or even (3,9) = ^7 = ^6
4 2 3 1 ^11 ^4 5 6 v7 ^8
^b10 ^b3 4 5 v6 ^b7
Vv7b5 . 6 8 8 5 5 (2,5) Should be a v7b9b12 chord, not enough strings or fingers!
2 3 4 1 1 b9 (Vv7b5 means add a flat 5, Vv7(b5) means flatten the 5.)
b5
vII^m9 (2,10) (3,10) (4,11) Ending melody: "When she passes I"
v10 8 v6 If the melody supplies the 9th, could be a ^m7 chord.
9 ^b7 5
#Iv7(b5) (1,9) (3,8) (4,11) "smile, but she doesn't"
12 v7 v6
b12 vb7 vb6
IvM7 (3,8) "see"
v7
v7
#Iv7(b5) (3,8) (4,1) "She just doesn't"
v7 v6
vb7 vb6
Killing Me Softly (Roberta Flack)
Arranged by Kite and Athan Spathas. Absolute notation:
chorus: E^m7 A^m7 Dv7 ^Gv ^GvM7
E^m7 Av6 Dv7 ^Cv7
^Gv6 ^Cv7 ^FvM7(b5) /
Ev N.C.
verse: A^m7 Dv7 ^Gv ^GvM7 ^CvM7
A^m7 Dv7 E^m7 /
A^m7 Dv6 ^Gv ^GvM7 Bv,^7
Relative notation:
chorus: I^m7 IV^m7 bVIIv7 ^bIIIv ^bIIIvM7
I^m7 IVv6 bVIIv7 ^bVIv7
^bIIIv6 ^bVIv7 ^bIIvM7(b5) /
Iv N.C.
verse: IV^m7 bVIIv7 ^bIIIv ^bIIIvM7 ^bVIv
IV^m7 bVIIv7 I^m7 /
IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7
This song pumps the 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.
The ^FvM7(b5) chord could alternatively be an ^FvM9v#11 chord voiced 1-3-5-7-9-11 and fretted e.g. 4 4 3 3 2 2.
The melody uses the scale E vF# ^G A B ^C D E except for:
- Chorus, "Telling my whole life with his words", "life" and "his" are ^D
- Verse, 2nd line "heard" is ^D
- Verse, 4th line "listen" 2nd syllable is F#
- Verse, 5th line "was" and "young" are vB
- Verse, 6th line, "to my" is vD#
Alternatively, "was" and "young" could be plain B, and the Dv6 chord could be Dv7. But then the B and ^C in the melody might perhaps clash too much with the vC in the chord.
The v6 chords can be voiced 1-3-6-8. Without the 5th, the chord tends to "flip" to an ^m triad 1st inversion. But two things help reinforce it as a v6no5 chord: the doubling of the root at the octave, and the context of previous chord changes.
On a 6-string, in vC:
I^m7 . 4 . 3 2 4 IV^m7 . 4 6 5 . 4 VIIv7 7 . 6 4 8 . ^bIIIv . . 3 3 2 4 ^bIIIvM7 . . 3 3 2 2 IVv6 . . 6 6 8 7 ^bVIv7 4 . 3 1 5 . ^bIIIv6 . . 3 3 5 4 ^bIIvM7(b5) . 6 . 3 5 7 ^bVIvM7 4 . 3 3 5 . (or 4 . 3 3 5 4) VIIv6 7 . 9 8 8 . Vv,^7 2 . 1 0 3 2
Linus and Lucy (Vince Guaraldi)
This song has lots of 6th chords and the melody uses 2nds a lot. The resultant 6/9 harmony is an innate-comma chord, but it's not an issue because the 6th and the 9th overlap only very briefly, thus the (fleeting) v6,9 harmony doesn't sound wolfy.
Intro: Abv / Abv6 / Abv / Abv6 /
A part: Abv / Abv6 / Abv / Abv6 /
Abv / Abv6 / Cbv / Cbv6 / Abv / Abv6 /
B part: Dbv Ebv Abv6 / Dbv Ebv Abv6 / Dbv Ebv Abv6 / Abv / Abv6 /
In relative notation:
Intro: Iv / Iv6 / Iv / Iv6 /
A part: Iv / Iv6 / Iv / Iv6 /
Iv / Iv6 / bIIIv / bIIIv6 / Iv / Iv6 /
B part: IVv Vv Iv6 / IVv Vv Iv6 / IVv Vv Iv6 / Iv / Iv6 /
Tab for 8-string guitar in Eb downmajor (the lowest key possible).
Iv Iv6 - - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - 3 - | - 3 - - | - - - - | - - - - - 1 - - | 1 - - - | - 1 4 - | 1 4 - - - - - - | - - - - | - - - - | - - - - 2 - - 2 | - - - 2 | - - - 2 | - - - 2 Iv Iv6 - - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - 4 - - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - 3 - - 3 - | - 3 - - | - - - - | - - - - - 1 - - | 1 - - - | - 1 4 - | 1 4 - - - - - - | - - - - | - - - - | - - - - - - - 2 | - - - 2 | - - - 2 | - - - 2 Iv Iv6 - 1 4 - | 4 1 - - | 1 - - - | - - - - - - 4 - | 4 - 4 - | - - - 4 | - - - 4 - 2 - - | - 2 - - | 2 - - - | - - - - - - - - | - - 3 - | - - - 3 | - - - 3 - - 3 - | - 3 - - | - - - - | - - - - - 1 - - | 1 - - 1 | - 1 4 - | 1 4 - - - - - - | - - - - | - - - - | - - - - - - - 2 | - - - - | 2 - - 2 | - - - 2 Iv Iv6 - 1 4 - | 4 - - - | - - - - | - - - - - - 4 - | 4 - - - | - - - - | - - - 4 - 2 - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - 3 - - 3 - | - 3 - - | - - - - | - - - - - 1 - - | 1 - - - | - 1 4 - | 1 4 - - - - - - | - - - - | - - - - | - - - - - - - 2 | - - - 2 | - - - 2 | - - - 2 Iv Iv6 - 1 4 - | 4 1 - - | 1 - - - | - - - - - - 4 - | 4 - 4 - | - - - 4 | - - - 4 - 2 - - | - 2 - - | 2 - - - | - - - 2 - - - - | - - 3 - | - - - 3 | - - - - - - 3 - | - 3 - - | - - - - | - - - - - 1 - - | 1 - - 1 | - 1 4 - | 1 4 - - - - - - | - - - - | - - - - | - - - 1 - - - 2 | - - - - | 2 - - 2 | - - - - bIIIv bIIIv6 - - - 1 | 1 - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - 4 - - - 2 | 2 - - - | - - - - | - - - - - - 2 - | - 2 - - | - - - - | - - - 3 - 0 - - | 0 - - - | - 0 3 - | 0 3 - - - - - - | - - - - | - - - - | - - - - - - - 1 | - - - 1 | - - - 1 | - - - - - - - - | - - - - | - - - - | - - - 2 Iv Iv6 - - - 1 | 1 - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - 2 | 2 - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - 3 - | - 3 - - | - - - - | - - - - - 1 - - | 1 - - - | - 1 4 - | 1 4 - - - - - - | - - - - | - - - - | - - - - - - - 2 | - - - 2 | - - - 2 | - - - 2 IVv Vv Iv6 6 6 6 1 | - 18 18 18 | 18 18 18 18 | 18 18 18 - 4 4 4 2 | - 16 19 19 | 16 19 19 16 | 19 19 16 - 5 5 5 2 | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - 1 | - - - - | - - - - | - - - - 4 4 4 - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - 2 IVv Vv Iv6 6 6 6 1 | - 18 18 18 | 18 18 18 18 | 18 18 18 - 4 4 4 2 | - 16 19 19 | 16 19 19 16 | 19 19 16 - 5 5 5 2 | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - 1 | - - - - | - - - - | - - - - 4 4 4 - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - 2 IVv Vv Iv6 6 6 6 1 | - 18 18 18 | 18 18 18 18 | 18 18 18 - 4 4 4 2 | - 16 19 19 | 16 19 19 16 | 19 19 16 - 5 5 5 2 | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - - 1 | - - - - | - - - - | - - - - 4 4 4 - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - Iv Iv6 - - - - | - - - - | - - - - | - - - - 4 - - - | - - - - | - - - - | - - - - 2 - - - | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - - - 3 - | - 3 - - | - - - - | - - - - - 1 - - | 1 - - - | - 1 4 - | 1 4 - - - - - - | - - - - | - - - - | - - - - 2 - - 2 | - - - 2 | - - - 2 | - - - -
Barbershop, World Music, Microtonal Music, etc.
Kusuva Musha (traditional mbira)
Kite's arrangement of a traditional mbira dzavadzimu song. Simple 5-limit harmonies, except for the 10/7 in the vB chord. But tricky circular rhythms with lots of 3-against-4. The harmonies are circular too. The key is simultaneously C downmajor down-2 and F downlydian down-4. (As with chords, the "down" before the mode name lowers the 3rd, 6th and 7th, but not the tonic, 2nd, 4th or 5th.) The guitar part is a 3-voice canon, with the 3 voices separated by diatonic 3rds. The highest voice is on the beat, as is the bass.
https://soundcloud.com/mbirakite/kusuva-musha-canon-guitar-version
Tablature in C (or F) for 6-string guitar:
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - 13 - - 10| - - 13 - - - | - - 13 - - 13
- - - - - - | - - - - - - | - - - - 13 - | - 11 - - 13 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - 10 - - - | - - - - - - | - - 10 - - -
- - 13 - - - | - - - - - 13| - - 10 - 10 - | - - - - - 10
- - - - 13 - | - 13 - - 13 - | - - - - - - | - 13 - - 11 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
/ Cv vE^m vA^m Cv Fv vA^m vD^m
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| 12 - - 10 - - | 12 - - - - - | 12 - - 12 - - | 12 - - - - -
| - - 10 - 10 - | - - 13 - - 10| - - 13 - - - | - - 13 - - 13
| - - - - - - | - 11 - - 11 - | - - - - 13 - | - 11 - - 13 -
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
\
Fv vB5(^b5) vD^m Gvno5 vB5(^b5) Cv \
- - - - - - | - - - - - - | - - - - - - | - - - - - - |
- - - - - - | - - - - - - | - - - - - - | - - - - - - |
15 - - 12 - - | 10 - 10 - - - | 15 - - 10 - - | 10 - 10 - - - |
- - 13 - - - | - - - - - 13| - - 10 - 10 - | - - - - - 10 |
- - - - 13 - | - 13 - - 13 - | - - - - - - | - 13 - - 11 - |
- - - - - - | - - - - - - | - - - - - - | - - - - - - |
/
Tablature in C (or F) for 4-string bass guitar, tuned one octave below strings 3-6 of the guitar:
F vA F
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | 13 - - - - -
- - - - - - | - - - - - - | - - - 13 - - | - - - 13 - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
vA F vB F vA G vB G
- - - - - - | 10 - - - - - | - - - - - - | 10 - - - - -
13 - - - - - | - - - - - - | 13 - - 10 - - | - - - 10 - -
- - - 13 - - | - - - 13 - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
/ C vE vA G C F vA F
| 12 - - - - - | - - - - - - | 12 - - - - - | - - - - - -
| - - - - - - | 13 - - 10 - - | - - - - - - | 13 - - - - -
| - - - 11 - - | - - - - - - | - - - 13 - - | - - - 13 - -
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
\
vA F vB F vA G vB G \
- - - - - - | 10 - - - - - | - - - - - - | 10 - - - - - |
13 - - - - - | - - - - - - | 13 - - 10 - - | - - - 10 - - |
- - - 13 - - | - - - 13 - - | - - - - - - | - - - - - - |
- - - - - - | - - - - - - | - - - - - - | - - - - - - |
/
Tablature in E (or A) for 6-string guitar, combining both parts:
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - 7 - - 4 | - - 7 - - - | - - 7 - - 7
- - - - - - | - - - - - - | - - - - 7 - | - 5 - - 7 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - 4 - - - | - - - - - - | - - 4 - - -
- - 7 - - - | - - - - - 7 | - - 4 - 4 - | - - - - - 4
- - - - 7 - | - 7 - - 7 - | - - - - - - | - 7 - - 5 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
6 - - 4 - - | 6 - - - - - | 6 - - 6 - - | 6 - - - - -
- - 4 - 4 - | - - 7 - - 4 | - - 7 - - - | - - 7 - - 7
- - - - - - | - 5 - - 5 - | - - - - 7 - | - 5 - - 7 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | 6 - - - - -
- - - - - - | - - - - - - | - - - 6 - - | - - - 6 - -
9 - - 6 - - | 4 - 4 - - - | 9 - - 4 - - | 4 - 4 - - -
- - 7 - - - | - - - - - 7 | - - 4 - 4 - | - - - - - 4
- - - - 7 - | - 7 - - 7 - | - - - - - - | - 7 - - 5 -
- - - - - - | 3 - - - - - | - - - - - - | 3 - - - - -
6 - - - - - | - - - - - - | 6 - - 3 - - | - - - 3 - -
- - - 6 - - | - - - 6 - - | - - - - - - | - - - - - -
/ Iv vIII^m vVI^m Iv IVv vVI^m vII^m
| 6 - - 4 - - | 6 - - - - - | 6 - - 6 - - | 6 - - - - -
| - - 4 - 4 - | - - 7 - - 4 | - - 7 - - - | - - 7 - - 7
| - - - - - - | - 5 - - 5 - | - - - - 7 - | - 5 - - 7 -
| 5 - - - - - | - - - - - - | 5 - - - - - | - - - - - -
| - - - - - - | 6 - - 3 - - | - - - - - - | 6 - - - - -
| - - - 4 - - | - - - - - - | - - - 6 - - | - - - 6 - -
\
IVv vVII5(^b5) vD^m Vvno1 vVII5(^b5) Iv \
9 - - 6 - - | 4 - 4 - - - | 9 - - 4 - - | 4 - 4 - - - |
- - 7 - - - | - - - - - 7 | - - 4 - 4 - | - - - - - 4 |
- - - - 7 - | - 7 - - 7 - | - - - - - - | - 7 - - 5 - |
- - - - - - | 3 - - - - - | - - - - - - | 3 - - - - - |
6 - - - - - | - - - - - - | 6 - - 3 - - | - - - 3 - - |
- - - 6 - - | - - - 6 - - | - - - - - - | - - - - - - |
/
Mizarian Porcupine Overture (Herman Miller, microtonal)
Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. The last 30 seconds of this piece is a famous example of a Triyo (Porcupine) comma pump. The comma is rapidly pumped three times.
http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding.mp3 (1999 version)
http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding2.mp3 (later version)
| Iv / vIII^m | vVIv / ^Iv | | | | | ^IVv ^IVv/3 VIv | IIv V^m Vv |
The score below is written out for the (P8,P4/3) pergen, with an enharmonic of v3A1, 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.
Tab in vEb downmajor for three 6-string guitars. The rhythym guitar plays the bass clef of the score note-for-note. The lead guitars play the treble clefs note-for-note. The leads are written out in absolute tab as string, dot, fret. The tonic is (4,5,3) = 4th string, 5th dot plus 3 frets = 23rd fret.
--------Rhythm Guitar----- -----1st Lead Guitar--------------- ------2nd Lead Guitar--------------
Iv . 9 9 8 10 . (3,5,3)(3,5,0)(4,5,3)(3,5,3)(3,6,1) (2,5,2)(3,5,3)(3,6,1)(2,5,2)(2,6,1)
v3 2 1 v3 4 5 v3 4 5 v6
vIII^m . 7 9 8 8 . (3,5,3) (2,5,2) (2,5,0) (2,5,2)
v3 5 v#4 5
vVIv 10 10 9 11 . . (4,6,0) (4,5,1) (4,6,0) (5,6,0) (2,6,1) (3,5,3) (2,6,3) (3,5,3)
vv#1 v7 vv#1 v6 v6 v3 ^2 v3
^Iv . 1 3 3 2 . (2,4,1)
3
^IVv 4 . 3 5 5 . (1,4,3) (1,4,0) (2,4,3) (3,4,1) (4,4,2)
6 ^5 ^4 ^1 6
^IVv/3 . 4 3 5 5 . (3,4,1) (3,4,2) (4,3,3) (5,4,2) (4,3,3)
^1 v#1 ^5 ^4 ^5
VIv . 4 4 3 5 . (4,5,0) (5,4,0)
^m7 3
IIv . 4 6 6 . . (4,4,2) (5,4,3) (6,4,3)
6 v#4 2
V^m . 6 6 8 . . (2,5,1) (4,5,0) (5,5,3)
^4 ^m7 ^m6
Vv . 7 6 8 . . (2,5,2) (5,5,1) (4,5,1)
5 5 v7
Iv . 9 9 8 10 . (3,5,3) (4,5,3)
v3 1
The Magic Of Belief (Chris Vaisvil, microtonal)
Coming soon!
https://chrisvaisvil.com/the-magic-of-belief-magic19-of-41-edo/