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Kite Guitar translations by Kite Giedraitis: Difference between revisions

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     -  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
     -  -  -  -  | -  -  -  -  | -  -  -  -  | -  -  -  -
     2  -  -  2  | -  -  -  2  | -  -  -  2  | -  -  -  -
     2  -  -  2  | -  -  -  2  | -  -  -  2  | -  -  -  -
</tt>
== Barbershop tags ==
These are mostly translations of traditional arrangements, as opposed to re-arrangements. Thus the individual parts are changed only by adding in ups and downs.


 
Barbershop often uses very close voicings of a major 2nd. When this 2nd translates to a vM2 or an ^M2, both notes occur on the same string. The tab resolves the issue by using an open string, or using [[wikipedia:Tapping|tapping]]. Even if a note-for-note guitar performance of the tag is awkward, the tabs are still valuable for conveying to the singers subtle microtonal nuances.  
 
== Barbershop, World Music, Microtonal Music, etc. ==


=== Please Don't Sell My Daddy No More Wine tag (Tom Lane) ===
=== Please Don't Sell My Daddy No More Wine tag (Tom Lane) ===
Line 1,187: Line 1,186:
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 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 tenor's P1 is everyone else's P8. 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 with a tapped note. Or one could have the baritone's note disappear briefly and play xx686xx. 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.
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.
Line 1,208: Line 1,207:
|P5
|P5
|vM3
|vM3
|7 . 6 8 8 . .
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3
|hi-3
Line 1,217: Line 1,216:
|vM6
|vM6
|vm3
|vm3
|. 9 9 8 6 . .
| - 9 9 8 6 - -
|IVv7
|IVv7
|close
|close
Line 1,226: Line 1,225:
|P5
|P5
|vM3
|vM3
|7 . 6 8 8 . .
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3
|hi-3
Line 1,235: Line 1,234:
|M3
|M3
|v5
|v5
|2 . 1 . 3 . 0
|2 - 1 - 3 - 0
|VIv7
|VIv7
|hi-3-7
|hi-3-7
Line 1,244: Line 1,243:
|M6
|M6
|vA4
|vA4
|. 4 . 3 1 5 .
| - 4 - 3 1 5 -
|IIv7
|IIv7
|hi-3
|hi-3
Line 1,253: Line 1,252:
|vM7
|vM7
|v4
|v4
|. . 6 6 5 3 .
| - - 6 6 5 3 -
|Vv7
|Vv7
|close
|close
Line 1,262: Line 1,261:
|M6
|M6
|"
|"
|. 4 . 3 1 3 .
| - 4 - 3 1 3 -
|IIvm7
|IIvm7
|hi-3
|hi-3
Line 1,271: Line 1,270:
|vM7
|vM7
|"
|"
|. . 6 6 5 3 .
| - - 6 6 5 3 -
|Vv7
|Vv7
|close
|close
Line 1,280: Line 1,279:
| rowspan="6" |P8
| rowspan="6" |P8
|vM3
|vM3
|7 . 6 8 8 . .
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3
|hi-3
Line 1,288: Line 1,287:
| rowspan="3" |vM6
| rowspan="3" |vM6
| rowspan="3" |vm3
| rowspan="3" |vm3
|. 9 9 8 6 . .
| - 9 9 8 6 - -
|IVv7
|IVv7
|close
|close
|-
|-
|P5
|P5
|. . 6 8 6 . .
|19 - 9 8 6 - -
|IVv9noR
|IVv9noR
|low-9
|lo-9
|-
|-
|P4
|P4
|. 9 9 8 6 . .
| - 9 9 8 6 - -
|IVv7
|IVv7
|close
|close
Line 1,304: Line 1,303:
| rowspan="2" |Mine
| rowspan="2" |Mine
| rowspan="2" |P1
| rowspan="2" |P1
|vM6
|"
| rowspan="2" |vM3
| rowspan="2" |vM3
|7 . 9 8 8 . .
|7 - 9 8 8 - -
|Iv6no5
|Iv6no5
|hi-3
|hi-3
|-
|-
|P5
|P5
|7 . 6 8 8 . .
|7 - 6 8 8 - -
|Iv
|hi-3
|}
 
=== When It's Sleepy Time Down South tag ===
Source: https://www.barbershoptags.com/tag-4-Sleepytime-Down-South
 
The bass and baritone's P8 is the lead and tenor's P1. The "-py" chord has a close vM2 in it, and thus a tapped note. Alternatively, the baritone note could disappear momentarily, making - - 11 13 13 -.
{| class="wikitable"
! rowspan="2" |Lyrics
! colspan="4" |vocal parts
! rowspan="2" |6- string
guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chord
homonyms
|-
!Bass
!Baritone
!Lead
!Tenor
|-
|When
|P8
|P8
|P1
|P1
| - - - - - 0
| colspan="2" |N/A
| colspan="2" rowspan="3" |
|-
|It's
|vM7
|vM7
|M2
|M2
| - - - 11 10 -
|VvnoR
|close
|-
|Slee-
|vM6
|vM6
|P1
|vM3
| - - 14 13 13 -
|vVI^m
|close
|-
| -py
|P5
|"
|"
|"
|24 - 14 13 13 -
|vVI^m7
|lo-7
|Iv6
|lo-5-6
|-
| rowspan="2" |Time
| rowspan="2" |A4
| rowspan="2" |"
| rowspan="2" |"
|"
| - 16 14 13 13 -
|#IVvdv7
|close
|vII^9noR
|close
|-
|vM2
| - 16 14 16 - 0
|vII^7
|hi-R
| colspan="2" rowspan="2" |
|-
| rowspan="2" |Down
| rowspan="2" |P4
|"
| rowspan="2" |"
|vm3
| - 14 14 13 11 -
|IVv7
|close
|-
|vm6
|vM2
| - 14 12 16 - 0
|vII^d^7
|hi-R
|bVIIv9noR
|hi-3
|-
|South
|P1
|P5
|"
|vM3
|12 - 11 13 13 -
|Iv
|hi-3
| colspan="2" |
|}
Barbershop generally uses mostly harmonic and stacked chords, and rarely uses subharmonic chords. But the first "time" chord is subharmonic, voiced 7/(7:6:5:4). It works here because the voicing makes all the intervals be 5-over or 7-over, and none are 5-under or 7-under. in fact, the harmonic alternative to vdv7 aka ^9noR would be ^d^7 aka v9noR, voiced 5:6:7:9. Comparing the 6 intervals in each tetrad, both have 3/2, 6/5, 7/6 and 7/5. The subharmonic chord has 5/4 and 7/4, and the harmonic chord has 9/7 and 9/5. So i<u>n this voicing</u>, the subharmonic chord is actually smoother!
 
What about other voicings? In a lo-3 voicing, 14/(12:7:5:4) has larger ratios than 3:5:7:9, and thus is inferior to it. But in a hi-3 voicing, 7/(7:5:4:3) is far superior to 5:7:9:12. The math works like this: in 5:6:7:9, to raise a note up an octave, double its number. To lower it, if it's even, halve it. If not, double all the other numbers. Then put the numbers back in ascending order. Thus the hi-R voicing is 5:6:7:9 --> 10:6:7:9 --> 6:7:9:10. But in 7/(7:6:5:4), it's the opposite: lower a note by doubling it, and raise a note by halving it (or doubling the others). To analyze the ratios, just pair off the 4 numbers into 6 pairs and factor out common factors. The smaller the ratios, the sweeter the chord. One can use this math to choose how to tune the chord, as we are doing here, or one can use it to arrange the tag for maximum vertical consonance, which generally requires an [[Odd limit|all-odd or nearly all-odd voicing]].
 
The subharmonic chord has an advantage not just vertically (harmonic) but also horizontally (melodic). In the previous chord, the baritone, lead and tenor make an upminor triad in root position. They hold their notes into this chord, and only the bass moves. Using the subharmonic chord lets them keep this same upminor triad, but the harmonic chord would force them into a downminor triad. The lead would have to fall by a full fret, or the bari and tenor would rise by a full fret, or the lead would fall by a half-fret with the others rising by a half-fret. The first two options would sound very jarring. The final option would spoil the simplicity of the steady post. Thus the first "time" chord <u>must</u> be subharmonic.
 
The second "time" chord is also subharmonic, but the advantage over the harmonic one is far less: 14/(14:12:10:9) vs. 5:6:7:8. Four of the ratios are the same, and 10/9 and 14/9 would become 8/7 and 8/5. Again, -over intervals would become -under, but the integer limit of both ratios would decrease. Furthermore, a wider 2nd is generally more consonant than a narrow one. And 14/9 is a little too close to 3/2 to be very consonant. The 3rd harmonic of the bass's voice is only ~60¢ away from the 2nd harmonic of the tenor's voice. All in all, the harmonic chord is more consonant, despite its -under intervals.
 
I chose to use the subharmonic chord for melodic simplicity. It allows the baritone, lead and tenor to be rock-steady during their posts. The harmonic dissonance can be lessened by not holding the chord as long. Aaron Wolf has proposed using the more consonant harmonic chord, with vII^7 becoming ^IIv7. He has the baritone move upwards by a full fret from the previous chord, from vM6 to ^M6. However it makes a less coherent scale, as the scale degrees are no longer plain or downward, but now also upward. Thus the tag gains vertical consonance but loses horizontal consonance. Since barbershop seems to prioritize the former over the latter, barbershoppers might prefer this version. Changes are '''bolded'''.
{| class="wikitable"
! rowspan="2" |Lyrics
! colspan="4" |vocal parts
! rowspan="2" |6- string
guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chord
homonyms
|-
!Bass
!Baritone
!Lead
!Tenor
|-
|When
|P8
|P8
|P1
|P1
| - - - 13 - -
| colspan="2" |N/A
| colspan="2" rowspan="3" |
|-
|It's
|vM7
|vM7
|M2
|M2
| - - - 11 10 -
|VvnoR
|close
|-
|Slee-
|vM6
|vM6
|P1
|vM3
| - - 14 13 13 -
|vVI^m
|close
|-
| -py
|P5
|"
|"
|"
|24 - 14 13 13 -
|vVI^m7
|lo-7
|Iv6
|lo-5-6
|-
| rowspan="2" |Time
| rowspan="2" |A4
|"
| rowspan="2" |"
|"
| - 16 14 13 13 -
|#IVvdv7
|close
|vII^9noR
|close
|-
|'''^M6'''
|'''^M2'''
| - 16 '''15''' '''17''' - 0
|'''^IIv7'''
|hi-R
| colspan="2" rowspan="2" |
|-
| rowspan="2" |Down
| rowspan="2" |P4
|vM6
| rowspan="2" |"
|vm3
| - 14 14 13 11 -
|IVv7
|close
|-
|vm6
|vM2
| - 14 12 16 - 0
|vII^d^7
|hi-R
|bVIIv9noR
|hi-3
|-
|South
|P1
|P5
|"
|vM3
|12 - 11 13 13 -
|Iv
|Iv
|hi-3
|hi-3
| colspan="2" |
|}
|}


Line 1,319: Line 1,525:
My JI arrangement of the last line of the chorus of "Let It Be" as a barbershop tag, translated to 41edo. I tried to give each of the 4 lines a fun easy melody. The 2nd to last chord is an upmajor triad, the "rub" that drives the cadence.
My JI arrangement of the last line of the chorus of "Let It Be" as a barbershop tag, translated to 41edo. I tried to give each of the 4 lines a fun easy melody. The 2nd to last chord is an upmajor triad, the "rub" that drives the cadence.


For 6-string and 7-string guitar, in A downmajor. The 7-string would be in high-7 tuning. The guitar duplicates the voices exactly. The P8 of the bass and baritone is the P1 of the lead and tenor.
The P8 of the bass and baritone is the P1 of the lead and tenor. For 6-string and 7-string guitar, in A downmajor. The 7-string would be in high-7 tuning. The guitar duplicates the voices exactly.  
{| class="wikitable"
{| class="wikitable"
|+
|+
Line 1,339: Line 1,545:
|vM3
|vM3
|vm7
|vm7
|. . 5 7 7 . 4
| - - 5 7 7 - 4
|18 20 20 . 17 .
|18 20 20 - 17 -
|Iv7
|Iv7
|-
|-
Line 1,348: Line 1,554:
|v4
|v4
|"
|"
|. . 5 . 2 2 4
| - - 5 - 2 2 4
|18 . 15 15 17 .
|18 - 15 15 17 -
|Vvm7(b5)
|Vvm7(b5)
|-
|-
Line 1,357: Line 1,563:
|vM3
|vM3
|vM6
|vM6
|. . 5 7 7 9 .
| - - 5 7 7 9 -
|18 20 20 22 . .
|18 20 20 22 - -
|Iv6
|Iv6
|-
|-
Line 1,366: Line 1,572:
|"
|"
|P5
|P5
|. . 5 5 7 6 .
| - - 5 5 7 6 -
|18 18 20 19 . .
|18 18 20 19 - -
|vIII^m (or Vv6no5)
|vIII^m (or Vv6no5)
|-
|-
Line 1,375: Line 1,581:
|M2
|M2
|v4
|v4
|. . 5 5 4 2 .
| - - 5 5 4 2 -
|18 18 17 15 . .
|18 18 17 15 - -
|Vv7
|Vv7
|-
|-
Line 1,384: Line 1,590:
|vM3
|vM3
|P5
|P5
|. . 5 3 7 6 .
| - - 5 3 7 6 -
|. . 5 3 7 6
| - - 5 3 7 6
|Vvm6no5 (or Iv7noR)
|Vvm6no5 (or Iv7noR)
|-
|-
Line 1,393: Line 1,599:
|M2
|M2
|v4
|v4
|. . 5 3 4 2 .
| - - 5 3 4 2 -
|. . 5 3 4 2
| - - 5 3 4 2
|Vvm7
|Vvm7
|-
|-
Line 1,402: Line 1,608:
|P1
|P1
|vm3
|vm3
|. 8 8 7 5 . .
| - 8 8 7 5 - -
|. 8 8 7 5 .
| - 8 8 7 5 -
|IVv7
|IVv7
|-
|-
Line 1,411: Line 1,617:
|"
|"
|"
|"
|. 4 6 7 5 . .
| - 4 6 7 5 - -
|. 4 6 7 5 .
| - 4 6 7 5 -
|vbVI^ (or IVvm7noR)
|vbVI^ (or IVvm7noR)
|-
|-
Line 1,420: Line 1,626:
|"
|"
|vM3
|vM3
|6 . 5 7 7 . .
|6 - 5 7 7 - -
|6 . 5 7 7 .
|6 - 5 7 7 -
|Iv
|Iv
|}
|}
== World Music, Microtonal Music, etc. ==


=== Kusuva Musha (traditional mbira) ===
=== Kusuva Musha (traditional mbira) ===
Retrieved from "https://en.xen.wiki/w/Kite_Guitar_translations_by_Kite_Giedraitis"