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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
→Linus and Lucy (Vince Guaraldi): fixed a typo, ^bIII not bIII
TallKite (talk | contribs)
autopatrolled, Sysops
3,990 edits
→Barbershop tags: added the tag "Smile"
Line 1,420: Line 1,420:
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!  
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]].
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 find 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 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.  
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guitar tab
guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chord
homonyms
|-
|-
!Bass
!Bass
Line 1,551: Line 1,553:
|IVv7
|IVv7
|hi-3
|hi-3
| colspan="2" rowspan="4" |
|-
|-
|Down
|Down
Line 1,562: Line 1,565:
|-
|-
| rowspan="11" |South
| rowspan="11" |South
|P8
|P8
| rowspan="2" |vM10
| rowspan="2" |vM10
| rowspan="2" |P5
| rowspan="2" |P5
| rowspan="11" |P8
| rowspan="11" |P8
|  - - - 4 4 3 5
|  - - - 4 4 3 5
|Iv
|Iv
Line 1,581: Line 1,609:
|vII^m7
|vII^m7
|lo-5
|lo-5
|IVv6
|lo-36
|-
|-
|^m6
|^m6
Line 1,588: Line 1,618:
|^bVIv7
|^bVIv7
|hi-3
|hi-3
| colspan="2" rowspan="2" |
|-
|-
|P5
|P5
Line 1,602: Line 1,633:
|vII^m7
|vII^m7
|lo-3
|lo-3
|IVv6
|hi-35
|-
|-
|vM3
|vM3
Line 1,609: Line 1,642:
|Iv
|Iv
|lo-3 add-8
|lo-3 add-8
| colspan="2" |
|-
|-
|^m3
|^m3
Line 1,615: Line 1,649:
|^bIIIv6
|^bIIIv6
|hi-3-6
|hi-3-6
|(I^m7)
|(lo-37 hi-R)
|-
|-
|^M2
|^M2
Line 1,622: Line 1,658:
|^IIv7
|^IIv7
|hi-3-7
|hi-3-7
| colspan="2" rowspan="3" |
|-
|-
|^m2
|^m2
Line 1,637: Line 1,674:
|hi-3 add-hi-8
|hi-3 add-hi-8
|}
|}
=== Smile ===
source: https://www.barbershoptags.com/tag-1-Smile
The bass's P8 is every one else's P1. The baritone starts below the lead and ends above the tenor.
{| class="wikitable"
|+
! rowspan="2" |Lyrics
! colspan="4" |vocal parts
! rowspan="2" |8-string
guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chord
homonyms
|-
!Bass
!Baritone
!Lead
!Tenor
|-
|A
|P5
| -------
| ------
| ------
| - 7 - - - - - -
| ------
| ------
| colspan="2" rowspan="3" |
|-
|Smile
|P8
| rowspan="5" |vM3
^m3
| rowspan="5" |P5
^m6
| rowspan="8" |P8
| - - 9 9 8 10 - -
|Iv
|add-8
|-
|Is
|vM7
| - - 7 9 8 10 - -
|IvM7
|hi-R lo-7
|-
|Still
|vM6
| - 10 - 9 8 10 - -
|Iv6
|hi-R lo-6
|vVI^m7
|hi-3
|-
|Worth-
|P5
| - 7 - 9 8 10 - -
|Iv
|hi-R lo-5 add-5
| colspan="2" rowspan="2" |
|-
|while
|^m6
| - 9 - 8 10 10 - -
|^bVIv
|hi-3 add-8
|-
|Darn
|P4
|vM2
|vm6
|10 - 12 - 9 10 - -
|IVvm6
|hi-35
|bVIIv9noR
|lo-5
|-
|Ya
|P11
|vM9
|"
| - - - 11 9 10 - 0
|"
|close
|"
|hi-3
|-
|Smile
|P8
|vM10
|P5
| - - 9 - 8 10 10 -
|Iv
|hi-3 add-8
| colspan="2" |
|}
The only chords without an obvious tuning are the ones on "darn ya". See the discussion in "When It's Sleepy Time Down South" about harmonic vs. subharmonic chords. The harmonic IVvm6 chord could be a subharmonic IV^m6. Analyzing the ratios in the "darn" chord, 5/3 would become 12/7 and 7/3 would become 12/5, both worse. But 9/5 would become 7/4 and 9/7 would become 5/4, both better. In the "ya" chord, again 5/3 would become 12/7, worse. But 9/7 would become 5/4, 7/6 would become 6/5, and 10/9 would become 8/7, all three better.
I chose somewhat arbitrarily to make the IV chord be harmonic. I liked the resulting microtonal lead melody. It would be possible to have a harmonic "darn" chord and a subharmonic "ya" chord, but that would make an awkward lead melody. To make both chords subharmonic, just change v to ^. But the use of the open string means the key must change.
{| class="wikitable"
|+
! rowspan="2" |Lyrics
! colspan="4" |vocal parts
! rowspan="2" |8-string
guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chord
homonyms
|-
!Bass
!Baritone
!Lead
!Tenor
|-
|A
|P5
| -------
| ------
| ------
| - 6 - - - - - -
| ------
| ------
| colspan="2" rowspan="3" |
|-
|Smile
|P8
| rowspan="5" |vM3
^m3
| rowspan="5" |P5
^m6
| rowspan="8" |P8
| - - 8 8 7 9 - -
|Iv
|add-8
|-
|Is
|vM7
| - - 6 8 7 9 - -
|IvM7
|hi-R lo-7
|-
|Still
|vM6
| - 9 - 8 7 9 - -
|Iv6
|hi-R lo-6
|vVI^m7
|hi-3
|-
|Worth-
|P5
| - 6 - 8 7 9 - -
|Iv
|hi-R lo-5 add-5
| colspan="2" rowspan="2" |
|-
|while
|^m6
| - 8 - 7 9 9 - -
|^bVIv
|hi-3 add-8
|-
|Darn
|P4
|^M2
|^m6
|9 - 12 - 9 9 - -
|IV^m6
|hi-35
|bVII^9noR
|lo-5
|-
|Ya
|P11
|^M9
|"
| - - - 10 9 9 - 0
|"
|close
|"
|hi-3
|-
|Smile
|P8
|vM10
|P5
| - - 8 - 7 9 9 -
|Iv
|hi-3 add-8
| colspan="2" |
|}
How do barbershoppers sing this tag in practice? In the source material's recording, the lead does not shift microtonally, and uses their "while" note for "darn ya". But the baritone is singing a plain 2nd and 9th, not an up 2nd/9th. So who knows?


=== Whisper Words of Wisdom (Let It Be by the Beatles) ===
=== Whisper Words of Wisdom (Let It Be by the Beatles) ===
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