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Kite Guitar translations by Kite Giedraitis: Difference between revisions

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autopatrolled, Sysops
4,197 edits
TallKite (talk | contribs)
autopatrolled, Sysops
4,197 edits
updated the chord notation, aug --> a, dim --> d, ^m7(b5) --> ^d^7, also some general cleanup
Line 37: Line 37:
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.  
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.
This way uses mostly steps of 60¢, but a 30¢ step when moving to the next string. The run ends on a vM3. This is absolute tab, so (3,5) means 3rd string, 5th fret.
<tt>
<tt>
  (3,5) (3,4) (3,3) (3,2) | (3,1) (3,0) (4,6) (4,5)
  (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)  
                        |
(4,4) (4,3) (4,2) (4,1) | (4,0) (5,6) (5,5) (5,4)
</tt>
</tt>


Line 48: Line 46:
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.
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>
<tt>
  (3,5) (3,4) (3,3) (3,2) | (3,1) (3,0) (4,5) (4,4)
  (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)
                        |
(4,3) (4,2) (4,1) (4,0) | (5,5) (5,4) (5,3) (5,2)
</tt>
</tt>
   
   
Line 84: Line 80:
  F# ^E F# F# ^^D ^^D C#
  F# ^E F# F# ^^D ^^D C#
  F# ^E F# ^A ^^D* C# ^B  *ornamented
  F# ^E F# ^A ^^D* C# ^B  *ornamented
<br>
<br>
<br>
<br>
</tt>
</tt>
"Sleep drifter sleep drifter"
"Sleep drifter sleep drifter"
<tt>
<tt>
  ^^D ^E F# ^^G ^A B C#
  ^^D ^E F# ^^G ^A B C#
<br>
<br>
<br>
<br>
</tt>
</tt>
"I can feel you touch me..."
"I can feel you touch me..."
Line 184: Line 168:
     2  -  -  -  | -  -  14  -  | 14  -  -  14 | -  -  14  -
     2  -  -  -  | -  -  14  -  | 14  -  -  14 | -  -  14  -
     -  -  -  0  | -  -  -  -  | 15  -  -  12 | -  -  -  -
     -  -  -  0  | -  -  -  -  | 15  -  -  12 | -  -  -  -
<br>
<br>
<br>
</tt>
</tt>
This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret.
This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret.
Line 198: Line 177:
     2  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
     2  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
     -  -  -  0  | -  -  -  -  | 15  -  -  12 | -  -  -  -
     -  -  -  0  | -  -  -  -  | 15  -  -  12 | -  -  -  -
<br>
<br>
<br>
</tt>
</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:
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:
Line 231: Line 205:
   
   
  ^^bVIv  ^^bIIIv  ^IV^m    Vv7
  ^^bVIv  ^^bIIIv  ^IV^m    Vv7
<br>
<br>
<br>
<br>
<br>
</tt>
</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 tonic should be at least 3 dots up the neck, to allow room to walk down. The melody strays from the key.  


The tonic should be at least 3 dots up the neck, to allow room to walk down.
Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords.  
<tt>
<tt>
  I^m      Vv      bVIIv    IVv   
  I^m      Vv      bVIIv    IVv   
   
   
  ^bVIv    ^bIIIv  IV^m    Vv7
  ^bVIv    ^bIIIv  IV^m    Vv7
<br>
<br>
<br>
<br>
<br>
</tt>
</tt>
The chorus is straightforward:
The chorus is straightforward:
Line 355: Line 315:
     |  3  .  .  .  .  .  |  1  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
     |  3  .  .  .  .  .  |  1  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
   
   
    -------------------------------------------------------------------------------------
   
   
         ^bIIIv                                    ^bVIIv              V^m
         ^bIIIv                                    ^bVIIv              V^m
Line 432: Line 392:
     |  6  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
     |  6  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
   
   
    -------------------------------------------------------------------------------------
   
   
         ^bIIIv                                    ^bVIIv              V^m
         ^bIIIv                                    ^bVIIv              V^m
Line 531: Line 491:
           -  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
           -  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
   
   
          ----------------------------------------------------------------
   
   
  chorus  -  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -        IV5,9      IV5,v7
  chorus  -  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -        IV5,9      IV5,v7
Line 561: Line 521:
           -  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
           -  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
   
   
          ----------------------------------------------------------------
   
   
  bridge  17  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -        ^bVIv
  bridge  17  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -        ^bVIv
Line 579: Line 539:
         etc.
         etc.
   
   
          ----------------------------------------------------------------
   
   
  outro    -  -  0  -  | 3  0  -  0  | -  -  0  -  | 3  0  -  0        Iv,9
  outro    -  -  0  -  | 3  0  -  0  | -  -  0  -  | 3  0  -  0        Iv,9
Line 618: Line 578:
Source for the chords: https://www.youtube.com/watch?v=l3NN5jywLBs
Source for the chords: https://www.youtube.com/watch?v=l3NN5jywLBs
<tt>
<tt>
  intro:  F^dim7
  intro:  F^d7
   
   
  main:  CvM7    Fv/G    F^m7    CvM7  (2x)
  main:  CvM7    Fv/G    F^m7    CvM7  (2x)
Line 626: Line 586:
         CvM7    Fv/G    F^m7    CvM7
         CvM7    Fv/G    F^m7    CvM7
   
   
         F^dim7  G#vdim7
         F^d7    G#vd7
</tt>
</tt>


<tt>
<tt>
  intro:  IV^dim7
  intro:  IV^d7
   
   
  main:  IvM7    IVv/2    IV^m7    IvM7  (2x)
  main:  IvM7    IVv/2    IV^m7    IvM7  (2x)
Line 638: Line 598:
         IvM7    IVv/2    IV^m7    IvM7
         IvM7    IVv/2    IV^m7    IvM7
   
   
         IV^dim7  #Vvdim7
         IV^d7    #Vvd7
 
 
<br>
<br>
<br>
<br>
</tt>
</tt>
No comma pumps, in fact every chord except for the two dim7 chords contains the tonic. The chords are mostly 5-limit.
No comma pumps, in fact every chord except for the two dim7 chords contains the tonic. The chords are mostly 5-limit.
Line 650: Line 604:
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.
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.
in 12edo, the two dim7 chords are equivalent, and can be thought of as a V7b9noR chord. There are several ways to 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.
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.
<tt>
<tt>
  ^F^dim7  . 20  . 17 16 20  .  
  ^F^d7    . 20  . 17 16 20  .  
   
   
      
      
Line 675: Line 629:
   
   
   
   
  ^F^dim7  (as before)
  ^F^d7    (as before)
   
   
  ^G#vdim7  .  . 19  . 16 14 18  
  ^G#vd7    .  . 19  . 16 14 18  
 
 
<br>
<br>
<br>
<br>
</tt>
</tt>
The picking pattern:
The picking pattern:
Line 698: Line 646:


=== 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. The turnaround chord is an aug chord.
<tt>
<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 710: Line 658:
  vA^m7    /          /      /    |  C^m7      /      /      /   
  vA^m7    /          /      /    |  C^m7      /      /      /   
                                 |
                                 |
  Gv7      /        Cv7    /    |  Gv7      /    Dvaug    /   
  Gv7      /        Cv7    /    |  Gv7      /    Dva      /   
 
</tt>


<br>
<br>
<br>
<br>
<br>
</tt>
In relative notation:
In relative notation:
<tt>
<tt>
Line 731: Line 673:
  vII^m7  /          /      /    |  IV^m7      /      /      /   
  vII^m7  /          /      /    |  IV^m7      /      /      /   
                                 |
                                 |
  Iv7      /        IVv7    /    |  Iv7      /    Vvaug    /   
  Iv7      /        IVv7    /    |  Iv7      /    Vva      /   
</tt>
</tt>


Line 766: Line 708:
  IV^m7      .  8  7  7  6  .        some people play a different chord here
  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
  Vva        .  .  5  5  6  6        could be translated as Vv(^^5) or Vvhalf-aug which is . . 5 5 5 6
</tt>
</tt>


Line 776: Line 718:
  A^m7      D^m7      Gv7      CvM7   
  A^m7      D^m7      Gv7      CvM7   
   
   
  FvM7      Bvm7(b5)  Esus4    Ev7
  FvM7      Bvdv7      Esus4    Ev7
 
 
<br>
<br>
<br>
<br>
<br>
</tt>
</tt>
In relative notation:
In relative notation:
Line 789: Line 724:
  I^m7      IV^m7      bVIIv7    bIIIvM7
  I^m7      IV^m7      bVIIv7    bIIIvM7
    
    
  bVIvM7    IIvm7(b5)  Vsus4    Vv7
  bVIvM7    IIvdv7    Vsus4    Vv7
</tt>
</tt>


Line 804: Line 739:
  bVIvM7    .  1  1  0  0  2      possible fingering . 1 2 . . 3
  bVIvM7    .  1  1  0  0  2      possible fingering . 1 2 . . 3
   
   
  IIvm7(b5)  .  .  5  3  2  2       a down-halfdim chord
  IIvdv7    .  .  5  3  2  2
   
   
  Vsus4      6  .  5  7  9  .
  Vsus4      6  .  5  7  9  .
Line 823: Line 758:
  bVIvM7    1  .  0  0  2  1      possible fingering 1 . . . 3 2
  bVIvM7    1  .  0  0  2  1      possible fingering 1 . . . 3 2
   
   
  IIvm7(b5)  .  5  3  2  2  .       a down-halfdim chord
  IIvdv7    .  5  3  2  2  .
   
   
  Vsus4      .  .  7  9  6  8
  Vsus4      .  .  7  9  6  8
Line 907: Line 842:
                                       |
                                       |
  ^G^m9      /      vvEv7      /      |    A^m7    Dv7b9b12  G^m7    Cv7b9b12  
  ^G^m9      /      vvEv7      /      |    A^m7    Dv7b9b12  G^m7    Cv7b9b12  
Relative notation.<tt></tt>
</tt>
Relative notation.
<tt>
  IvM9        /      IIv6      /      |    vII^m7  #Iv7(b5)  IvM7    #Iv7(b5)
  IvM9        /      IIv6      /      |    vII^m7  #Iv7(b5)  IvM7    #Iv7(b5)
                                       |
                                       |
Line 942: Line 879:
               3  4  1  1
               3  4  1  1
   
   
              -------------------------------------------------------------------------------------
   
   
   
   
Line 985: Line 922:
                                       b5
                                       b5
   
   
                -------------------------------------------------------------------------------------
   
   
   
   
Line 1,023: Line 960:
   
   
           A^m7        Dv6        ^Gv ^GvM7    Bv,^7
           A^m7        Dv6        ^Gv ^GvM7    Bv,^7
<br>
<br>
<br>
<br>
<br>
</tt>
</tt>
Relative notation:
Relative notation:
Line 1,186: Line 1,116:
     -  -  -  2  | -  -  -  2  | -  -  -  2  | -  -  -  2
     -  -  -  2  | -  -  -  2  | -  -  -  2  | -  -  -  2
   
   
    ----------------------------------------------------------------
   
   
     IVv        Vv      Iv6
     IVv        Vv      Iv6
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