Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions
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=== Interesting Root Movements === | === Interesting Root Movements === | ||
Given a chord, what chord can you move to that has at least 2 notes in common? Root movement intervals tend to be not plain. Harmonic chords tend to be followed by subharmonic chords and vice versa. The ^9 chord can often have its root omitted, becoming a vdv7 or ^m6 chord. These tables list only some of the possibilities. | Given a chord, what chord can you move to that has at least 2 notes in common? Root movement intervals will tend to be not plain. Harmonic chords will tend to be followed by subharmonic chords and vice versa. The ^9 chord can often have its root omitted, becoming a vdv7 or ^m6 chord. These tables list only some of the possibilities. | ||
{| class="wikitable" | {| class="wikitable" | ||
|+from the down7 chord | |+from the down7 chord | ||
| Line 640: | Line 640: | ||
|- | |- | ||
| rowspan="2" |root & 7th | | rowspan="2" |root & 7th | ||
|Iv7 -- vbVI^9 | |||
| - 4 4 3 1 | | - 4 4 3 1 | ||
|3 4 2 1 1 | |3 4 2 1 1 | ||
| | |leads nicely into the Vv7 chord | ||
|- | |- | ||
|Iv7 -- vbIII^m6 | |||
|4 - - 1 5 4 - | |4 - - 1 5 4 - | ||
| - 2 - 5 3 2 2 | | - 2 - 5 3 2 2 | ||
| | |leads nicely into the IVv7 chord | ||
|- | |- | ||
|5th & 7th | |5th & 7th | ||
| Line 1,157: | Line 1,157: | ||
|} | |} | ||
The last two columns take this idea further. The bolded note is <u>raised</u> to make a min6 chord that resolves down a 4th to the new tonic. This IVm6 - I cadence is simply the rotation of V7 - I. Note that both cadences take you to the same 4 keys. Also, the chord that results from raising the note can be interpreted as a dom9noR chord, in which case it resolves the same as if the note had been lowered. For example, Ebm6 can resolve to Bb, but if heard as Ab9noR, it can resolve to Db. Likewise, the Ab7 chord can be interpreted as Ebm6,11no5, and thus can resolve to Bb. (This is perhaps more plausible in 41-equal than in 12-equal.) In all these cadences, the C-Gb dim 5th resolves inward to a 3rd. | |||
The last two columns take this idea further. The bolded note is <u>raised</u> to make a min6 chord that resolves down a 4th to the new tonic. This IVm6 - I cadence is simply the rotation of V7 - I. Note that both cadences take you to the same 4 keys. | |||
In 41-equal, a dim7 chord is possible, but here we will focus on the ^dim7 and vdim7 chords. Neither of these are symmetrical, so 40 more tables would be needed! How much to raise/lower by? The bolded note has another chord note a tritone above it. The bolded note is either lowered to make that interval a perfect 5th, or raised to make a perfect 4th. | In 41-equal, a dim7 chord is possible, but here we will focus on the ^dim7 and vdim7 chords. Neither of these are symmetrical, so 40 more tables would be needed! How much to raise/lower by? The bolded note has another chord note a tritone above it. The bolded note is either lowered to make that interval a perfect 5th, or raised to make a perfect 4th. | ||
Sometimes another note in the chord needs to shift by one edostep to make a low-odd-limit chord. When this happens, the shifting note is bolded in the "new chord" column. Without this shift, the new chord is more dissonant. But the down add-7 chord is a very familiar dissonance. Furthermore the vanishing [[225/224|Ruyoyo comma]] means the 45/32 downaug 4th is really a consonant 7/5 dim 5th. So it's listed in the 2nd row as an alternative to shifting. The upminor add6 chord is a rotation of | Sometimes another note in the chord needs to shift by one edostep to make a low-odd-limit chord. When this happens, the shifting note is bolded in the "new chord" column. Without this shift, the new chord is more dissonant. But the down add-7 chord is a very familiar dissonance. Furthermore the vanishing [[225/224|Ruyoyo comma]] means the 45/32 downaug 4th is really a consonant 7/5 dim 5th. So it's listed in the 2nd row as an alternative to shifting. The upminor add6 chord is included as a possibility because it's a rotation of v,7, and has the same vanishing innate comma. But the other two non-shifting chords, F# minor add-down6 and D add-up7, are less plausible because of their dissonant plain 3rds. | ||
{| class="wikitable" | {| class="wikitable" | ||
|+using an updim7 chord to modulate in 41-equal | |+using an updim7 chord to modulate in 41-equal | ||
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|^G | |^G | ||
|} | |} | ||
Again, there are alternate interpretations for the new chord. | |||
* Ab^7 = Eb^m6,11no5 | |||
* Eb^m6 = Ab^9noR | |||
* ^Fv7 = ^Cvm6,11no5 | |||
* ^Cvm6 = ^Fv9noR | |||
Here's a similar table for the downdim7 chord. All the non-shifting chords contain mid intervals. | |||
{| class="wikitable" | {| class="wikitable" | ||
|+using a downdim7 chord to modulate in 41-equal | |+using a downdim7 chord to modulate in 41-equal | ||