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Kite Guitar translations by Kite Giedraitis: Difference between revisions

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TallKite (talk | contribs)
autopatrolled, Sysops
3,990 edits
updated the chord notation, aug --> a, dim --> d, ^m7(b5) --> ^d^7, also some general cleanup
TallKite (talk | contribs)
autopatrolled, Sysops
3,990 edits
→Barbershop, World Music, Microtonal Music, etc.: added "Please don't give my daddy no more wine" tag
Line 80: 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
</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#
</tt>
</tt>
"I can feel you touch me..."
"I can feel you touch me..."
Line 168: Line 170:
     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. 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 177: Line 180:
     2  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
     2  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
     -  -  -  0  | -  -  -  -  | 15  -  -  12 | -  -  -  -
     -  -  -  0  | -  -  -  -  | 15  -  -  12 | -  -  -  -
</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 205: Line 209:
   
   
  ^^bVIv  ^^bIIIv  ^IV^m    Vv7
  ^^bVIv  ^^bIIIv  ^IV^m    Vv7
</tt>
</tt>
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.  
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.


Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords.  
Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords.  
Line 213: Line 218:
   
   
  ^bVIv    ^bIIIv  IV^m    Vv7
  ^bVIv    ^bIIIv  IV^m    Vv7
</tt>
</tt>
The chorus is straightforward:
The chorus is straightforward:
Line 599: Line 605:
   
   
         IV^d7    #Vvd7  
         IV^d7    #Vvd7  
</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 632: Line 639:
   
   
  ^G#vd7    .  . 19  . 16 14 18  
  ^G#vd7    .  . 19  . 16 14 18  
</tt>
</tt>
The picking pattern:
The picking pattern:
Line 719: Line 727:
   
   
  FvM7      Bvdv7      Esus4    Ev7
  FvM7      Bvdv7      Esus4    Ev7
</tt>
</tt>
In relative notation:
In relative notation:
Line 842: Line 851:
                                       |
                                       |
  ^G^m9      /      vvEv7      /      |    A^m7    Dv7b9b12  G^m7    Cv7b9b12  
  ^G^m9      /      vvEv7      /      |    A^m7    Dv7b9b12  G^m7    Cv7b9b12  
</tt>
</tt>
Relative notation.
Relative notation.
Line 960: Line 970:
   
   
           A^m7        Dv6        ^Gv ^GvM7    Bv,^7
           A^m7        Dv6        ^Gv ^GvM7    Bv,^7
</tt>
</tt>
Relative notation:
Relative notation:
Line 1,162: Line 1,173:


== Barbershop, World Music, Microtonal Music, etc. ==
== Barbershop, World Music, Microtonal Music, etc. ==
=== Please Don't Sell My Daddy No More Wine tag (Tom Lane) ===
A rather conventional country song from 1964 that is the basis for a very popular barbershop tag. The tag is full of dom7 chords tuned 4:5:6:7. Very natural to play on the Kite guitar and very easy to translate, except that one of the chords has a hi-3-7 voicing and needs 7 strings.
Sources:
https://www.barbershoptags.com/tag-26-No-More-Wine (barbershop tag, "sell" became "give")
https://www.youtube.com/watch?v=dPJObkkA4Xs (The Greenwoods ,1966)
https://www.youtube.com/watch?v=brzqk9Zksuo (Wanda Jackson 1969)
The song pumps the meantone comma [[81/80]]. I chose to break the comma pump between the I and VI chords. Because the VI chord is major not minor, it has only one common tone with the I chord, the 3rd of the scale. I prefer the shifting 3rd to an offperfect root movement in the VI-II-V-I series of 4thward cadences. Fortunately none of the singers holds the shifting note across both chords. This type of comma pump is very common in barbershop, and this way of resolving the comma issue is usually the best way.
The tag can be played note-for-note on the guitar, except that the 3rd to last bass note is on the same string as the baritone's note. The tablature solves this problem by having the baritone's note disappear briefly.  The tenor's P1 is everyone else's P8. The passing IIm7 chord for "He's" is unfortunately a bit awkward to play rapidly. This "He's" swipe, along with the bass's "All" flourish and the baritone's "Mine" flourish, can be omitted if the guitar is accompanying a barbershop quartet.
The guitar key is vBb if in high-7 tuning and Gb if in low-7 tuning. The hi-3-5 voicing that requires 7 strings happens to be a 2:3:5:7 voicing. This is a nearly [[Odd limit|all-odd-numbers]] voicing, and thus one of the most consonant voicings possible. When played with an open string, it's quite natural for 2 . 1 . 3 . 0 to become 2 . 1 3 3 . 0.
{| class="wikitable"
|+
! rowspan="2" |Lyrics
! colspan="4" |vocal parts
! rowspan="2" |7- string
guitar tab
! colspan="2" rowspan="2" |chords
|-
!Bass
!Baritone
!Lead
!Tenor
|-
|Please Don't Give My
|P1
|P8
|P5
|vM3
|7 . 6 8 8 . .
|Iv
|hi-3
|-
|Daddy No More
|P4
|"
|vM6
|vm3
|. 9 9 8 6 . .
|IVv7
|close
|-
|Wine, No More
|P1
|"
|P5
|vM3
|7 . 6 8 8 . .
|Iv
|hi-3
|-
|Wine
|low M6
|vA8
|M3
|v5
|2 . 1 . 3 . 0
|VIv7
|hi-3-7
|-
|He May Be No
|M2
|v8
|M6
|vA4
|. 4 . 3 1 5 .
|IIv7
|hi-3
|-
|Good, But
|P5
|M9
|vM7
|v4
|. . 6 6 5 3 .
|Vv7
|close
|-
|He's
|M2
|v8
|M6
|"
|. 4 . 3 1 3 .
|IIvm7
|hi-3
|-
|All
|P5
|M9
|vM7
|"
|. . 6 6 5 3 .
|Vv7
|close
|-
|Mine
|P1
|P5
| rowspan="6" |P8
|vM3
|7 . 6 8 8 . .
|Iv
|hi-3
|-
| rowspan="3" |All
|P4
| rowspan="3" |vM6
| rowspan="3" |vm3
|. 9 9 8 6 . .
|IVv7
|close
|-
|P5
|. . 6 8 6 . .
|IVv9noR
|low-9
|-
|P4
|. 9 9 8 6 . .
|IVv7
|close
|-
| rowspan="2" |Mine
| rowspan="2" |P1
|vM6
| rowspan="2" |vM3
|7 . 9 8 8 . .
|Iv6no5
|hi-3
|-
|P5
|7 . 6 8 8 . .
|Iv
|hi-3
|}


=== Let It Be tag (Beatles) ===
=== Let It Be tag (Beatles) ===
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