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[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. Translations by others are [[Kite Guitar Translations|here]]. 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.
[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. Translations by others are [[Kite Guitar Translations|here]]. The original 12-edo chords are simply the 41-edo chords with the ups and downs omitted. 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 ==
== Triadic Songs ==
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=== Greensleeves (traditional) ===
=== 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 2nd chord in the first two lines, ^bVIIv, is an optional passing chord. The V7 chord is translated as Vv,^7, 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.
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.
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   Ivm    (^bVIIv)  ^bIIIv    |  ^bVIIv        V^m    |  ^bVIv      IV^m      |  Vv        /
   Ivm    (^bVIIv)  ^bIIIv    |  ^bVIIv        V^m    |  ^bVIv      IV^m      |  Vv        /
                               |                        |                        |
                               |                        |                        |
   Ivm    (^bVIIv)  ^bIIIv    |  ^bVIIv        V^m    |  ^bVIv      Vv,^m7    |  I^m      /
   Ivm    (^bVIIv)  ^bIIIv    |  ^bVIIv        V^m    |  ^bVIv      Vv,^7    |  I^m      /
                               |                        |                        |
                               |                        |                        |
   ^bIIIv            /        |  ^bVIIv        V^m    |  ^bVIv      IV^m      |  Vv        /
   ^bIIIv            /        |  ^bVIIv        V^m    |  ^bVIv      IV^m      |  Vv        /
                               |                        |                        |
                               |                        |                        |
   ^bIIIv            /        |  ^bVIIv        V^m    |  ^bVIv      Vv,^m7    |  I^m      /
   ^bIIIv            /        |  ^bVIIv        V^m    |  ^bVIv      Vv,^7    |  I^m      /
</tt>
</tt>


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     |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
     |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
   
   
         ^bVIv                Vv,^m7              I^m   
         ^bVIv                Vv,^7                I^m   
     |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
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     |  3  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
     |  3  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |
   
   
         ^bVIv                Vv,^m7              I^m   
         ^bVIv                Vv,^7                I^m   
     |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
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     |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |
   
   
         ^bVIv                Vv,^m7              I^m   
         ^bVIv                Vv,^7                I^m   
     |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
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     |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |
     |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |
   
   
         ^bVIv                Vv,^m7              I^m   
         ^bVIv                Vv,^7                I^m   
     |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
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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 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.  
See also Aaron Wolf's [[Kite Guitar Translations by Aaron Wolf#My%20old%20Kentucky%20Home%20.28barbershop%20tag.29|My old Kentucky Home]] translation.


=== Please Don't Sell My Daddy No More Wine (Tom Lane) ===
=== Please Don't Sell My Daddy No More Wine (Tom Lane) ===
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|7 - 6 8 8 - -
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3
|hi-3 add-8
|-
|-
|Daddy No More
|Daddy No More
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|7 - 6 8 8 - -
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3
|hi-3 add-8
|-
|-
|Wine
|Wine
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|7 - 6 8 8 - -
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3
|hi-3 add-8
|-
|-
| rowspan="3" |All
| rowspan="3" |All
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|7 - 9 8 8 - -
|7 - 9 8 8 - -
|Iv6no5
|Iv6no5
|hi-3
|hi-3 add-8
|-
|-
|P5
|P5
|7 - 6 8 8 - -
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3
|hi-3 add-8
|}
|}


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|P1
|P1
|  - - - 13 - -
|  - - - 13 - -
| colspan="2" |N/A
|I5no5
|close
| colspan="2" rowspan="3" |
| colspan="2" rowspan="3" |
|-
|-
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|12 - 11 13 13 -
|12 - 11 13 13 -
|Iv
|Iv
|hi-3
|hi-3 add-8
| colspan="2" |
| colspan="2" |
|}
|}
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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.
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'''.
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 would probably prefer this version. Changes are '''bolded'''.
{| class="wikitable"
{| class="wikitable"
! rowspan="2" |Lyrics
! rowspan="2" |Lyrics
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|P1
|P1
| - - - 13 - -
| - - - 13 - -
| colspan="2" |N/A
|I5no5
|close
| colspan="2" rowspan="3" |
| colspan="2" rowspan="3" |
|-
|-
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|12 - 11 13 13 -
|12 - 11 13 13 -
|Iv
|Iv
|hi-3
|hi-3 add-8
| colspan="2" |
| colspan="2" |
|}
|}
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Source: https://www.barbershoptags.com/tag-10-Way-Down-South
Source: https://www.barbershoptags.com/tag-10-Way-Down-South


The bass and baritone's P8 is the lead and tenor's P1. The opening two chords make a [[50/49|Biruyo]] comma warp. The interval between the top two voices is warped from 10/7 to 7/5. I chose to have the lead be the one to adjust, because rising seemed more apt than falling, and because the tenor seemed more prominent. Also, the tenor would have to shift to a ~6, way out of key. The lead's vA2 note in the "down" chord is enharmonically equivalent to a m3. The very open voicings of the final three chords require 7 strings.
The bass and baritone's P8 is the lead and tenor's P1. The opening two chords make a [[50/49|Biruyo]] comma warp. The interval between the top two voices is warped from 10/7 to 7/5. The Buruyo comma is only half a fret, so only one voice need adjust. I chose to have the lead be the one to adjust, because rising seemed more apt than falling, and because the tenor seemed more prominent. Also, the tenor would have to shift to a ~6, way out of key. The lead's vA2 note in the "down" chord is enharmonically equivalent to a m3. The very open voicings of the final three chords require 7 strings.
{| class="wikitable"
{| class="wikitable"
|+
|+
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=== Whisper Words of Wisdom (Let It Be by the Beatles) ===
=== Whisper Words of Wisdom (Let It Be by the Beatles) ===
My just intonation 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 just intonation 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 a dissonant upmajor triad, the "rub" that drives the cadence.


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. This arrangement omits the lead's suspension (M2 to P1) on "Be" because it doesn't work well on the guitar.  
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. This arrangement omits the lead's suspension (M2 to P1) on "Be" because it doesn't work well on the guitar.  
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