Kite Guitar translations by Kite Giedraitis: Difference between revisions

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Sources:

* https://www.youtube.com/watch?v=ODidAgdL40Y

* https://www.youtube.com/watch?v=iQpopHobZZc

* https://www.youtube.com/watch?v=UMOU-HUYCqM

* https://tabs.ultimate-guitar.com/tab/led-zeppelin/kashmir-tabs-104407

~~There are two translations. One is mostly faithful to the original.~~ The ~~other demonstrates 41~~-equal~~'s melodic possibilities by making the first two riffs be twice as long. Both use~~ DADGAD ~~tuning not downmajor tuning~~, so the ~~41-equal~~ frettings and fingerings are very similar to the 12-~~equal DADGAD ones~~.

The 12-equal version also uses DADGAD, so the frettings and fingerings are very similar. The Kite guitar tab assumes odd-numbered frets. Fret #1 is 1\41 from the nut, fret #2 is 3\41. etc. Fret #21 is at the octave. If you don't have an odd-fretted Kite guitar, use a half-fret capo.

~~The tuning uses a half-fet capo~~. ~~Fret #1~~ is 1\41 ~~from the nut, and fret #21 is at~~ the ~~octave~~.

There are two translations. One is mostly faithful to the original. The other demonstrates 41-equal's melodic possibilities by making the first two riffs be twice as long.

Riff #1 faithful (T stands for 10)

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</tt>

Riff #1 double-long (T stands for 10, E for 11)

The obvious translation of the melody would be A ^Bb vB C D. But I chose A ^Bb ^B ^^C D. The ^B and vvC are less consonant, but I liked the sinister effect of increasing dissonance. I also liked the uniform step size of 2 frets (except the last step is 2.5 frets). The division of the 4th into 4 near-equal steps is quite striking.

Riff #1a double-long (T stands for 10, E for 11)

<tt>

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

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Line 324:

I was tempted to have the upper voice switch strings sooner, and finish with vm7 ^my vM7 ^M7 P8. But I decided the steadily increasing dissonance of vM6 m7 ~7 M7 was a feature, not a bug. And I liked having the final step be larger than all the others, as it is in the 12-equal original. Also, M7 is less dissonant than ^M7.

~~The~~ extra lick goes 3rd string frets 4 2 4 7 4 2 4, 4th string fret 7, rhythm is e & a 4 e & a 1.

In both versions, the extra lick goes 3rd string frets 4 2 4 7 4 2 4, 4th string fret 7, rhythm is e & a 4 e & a 1.

Riff #2 faithful:

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The highest voice uses the descending downminor pentatonic scale D vC A G vF D. The 5th and 6th chords are played up high due to the lack of D and A notes near the 13th fret.

Riff #2 double-long:

Riff #2a double-long (pentatonic version):

~~<tt>~~

| 21 - - 21 - - 21 - | - 21 - - 17 - 17 - | 17 - - 17 - - - - | - - - - - - - - |

| 0 - - 0 - - 0 - | - 0 - - 0 - 0 - | 0 - - 0 - - 21 - | - 21 - - 21 - 21 - |

| 21 - - 20 - - 19 - | - 18 - - 17 - 16 - | 15 - - 14 - - - - | - - - - - - - - |

| 0 - - 0 - - 0 - | - 0 - - 21 - 21 - | 0 - - 0 - - 21 - | - 20 - - 19 - 18 - |

| 0 - - 0 - - 0 - | - 0 - - 0 - 0 - | 0 - - 0 - - 21 - | - 20 - - 19 - 18 - |

| - - - - - - - - | - - - - - - - - | - - - - - - 21 - | - 21 - - 21 - 21 - |

Line 353:

Line 355:

</tt>

In the ~~double-long version, the highest voice moves twice as slowly. The~~ 2nd highest voice moves mostly by single frets, once by 1.5 frets~~, and twice by a half-fret~~.

Here the 2nd highest voice moves mostly by single frets, twice by a half-fret, and once by 1.5 frets.

<tt>

G ^F# vF# ^F vF E

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Line 363:

</tt>

In ~~both~~ versions, the final 3 notes could have been 5 4 0 = vm3 M2 P1. But I liked the sound of the mid-2nd. Makes it more middle eastern. Another possibility is 6 3 0 = ^m3 ~2 P1, even more middle eastern. But the upper voice has just finished hanging on the vm3, so that seemed to fit better.

Riff #2b double-long (decatonic version):

| 21 - - 21 - - 19 - | - 19 - - 17 - 17 - | - - - - - - - - | - - - - - - - - |

| 0 - - 0 - - 0 - | - 0 - - 0 - 0 - | 23 - - 23 - - 21 - | - 21 - - 19 - 19 - |

| 21 - - 20 - - 19 - | - 18 - - 17 - 16 - | - - - - - - - - | - - - - - - - - |

| 0 - - 0 - - 0 - | - 0 - - 0 - 0 - | 23 - - 22 - - 21 - | - 20 - - 19 - 18 - |

| - - - - - - - - | - - - - - - - - | 21 - - 21 - - 21 - | - 21 - - 21 - 21 - |

| 9 - - 9 - - 7 - | - 7 - - 5 - 5 - | 5 - - 5 - - 5 - | - 5 - - - - - - |

| 0 - - 0 - - 0 - | - 0 - - 0 - 0 - | 0 - - 0 - - 0 - | - 0 - - - - - - |

| 9 - - 8 - - 7 - | - 6 - - 5 - 4 - | 3 - - 2 - - 1 - | - 0 - - - - - - |

| 0 - - 0 - - 0 - | - 0 - - 0 - 0 - | 0 - - 0 - - 0 - | - 0 - - 5 3 0 - |

| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

</tt>

In this version, the 2nd bar is slightly different:

<tt>

G ^F# vF# ^F vF E

^Eb vEb D ^C# vC# ^C

C ^B vB ^Bb vBb A

^G# vG# ^G G vF vvE D

</tt>

In all three versions, the final 3 notes could have been 5 4 0 = vm3 M2 P1. But I liked the sound of the mid-2nd. Makes it more middle eastern. Another possibility is 6 3 0 = ^m3 ~2 P1, even more middle eastern. But the upper voice has just finished hanging on the vm3, so that seemed to fit better.

Riff #3:

Line 386:

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x 0 4 x 0 4

</tt>

This song nicely illustrates 3 of the 5 broad categories of 41-equal scales:

* pentatonic: riff #2 & #2a upper voice

* heptatonic

* semitonal: riff #1, riff #2 lower voice, riff #2b upper voice

* trientonal/fretwise: riff #1a, riff #2a & #2b lower voice

* microtonal

@@ Line 271: / Line 271: @@
 Sources:
 * https://www.youtube.com/watch?v=ODidAgdL40Y
 * https://www.youtube.com/watch?v=iQpopHobZZc
 * https://www.youtube.com/watch?v=UMOU-HUYCqM
+* https://tabs.ultimate-guitar.com/tab/led-zeppelin/kashmir-tabs-104407
-There are two translations. One is mostly faithful to the original. The other demonstrates 41-equal's melodic possibilities by making the first two riffs be twice as long. Both use DADGAD tuning not downmajor tuning, so the 41-equal frettings and fingerings are very similar to the 12-equal DADGAD ones.
+The 12-equal version also uses DADGAD, so the frettings and fingerings are very similar. The Kite guitar tab assumes odd-numbered frets. Fret #1 is 1\41 from the nut, fret #2 is 3\41. etc. Fret #21 is at the octave. If you don't have an odd-fretted Kite guitar, use a half-fret capo.
-The tuning uses a half-fet capo. Fret #1 is 1\41 from the nut, and fret #21 is at the octave.
+There are two translations. One is mostly faithful to the original. The other demonstrates 41-equal's melodic possibilities by making the first two riffs be twice as long.
 Riff #1 faithful (T stands for 10)
@@ Line 297: / Line 297: @@
 </tt>
-Riff #1 double-long (T stands for 10, E for 11)
+The obvious translation of the melody would be A ^Bb vB C D. But I chose A ^Bb ^B ^^C D. The ^B and vvC are less consonant, but I liked the sinister effect of increasing dissonance. I also liked the uniform step size of 2 frets (except the last step is 2.5 frets). The division of the 4th into 4 near-equal steps is quite striking.
+Riff #1a double-long (T stands for 10, E for 11)
 <tt>
   | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
@@ Line 322: / Line 324: @@
 I was tempted to have the upper voice switch strings sooner, and finish with vm7 ^my vM7 ^M7 P8. But I decided the steadily increasing dissonance of vM6 m7 ~7 M7 was a feature, not a bug. And I liked having the final step be larger than all the others, as it is in the 12-equal original. Also, M7 is less dissonant than ^M7.
-The extra lick goes 3rd string frets 4 2 4 7 4 2 4, 4th string fret 7, rhythm is e & a 4 e & a 1.
+In both versions, the extra lick goes 3rd string frets 4 2 4 7 4 2 4, 4th string fret 7, rhythm is e & a 4 e & a 1.
 Riff #2 faithful:
@@ Line 336: / Line 338: @@
 The highest voice uses the descending downminor pentatonic scale D vC A G vF D. The 5th and 6th chords are played up high due to the lack of D and A notes near the 13th fret.
-Riff #2 double-long:
+Riff #2a double-long (pentatonic version):
-<tt>
   | 21 -  - 21  -  - 21  - | - 21  -  - 17  - 17  - | 17 -  - 17  -  -  -  - | -  -  -  -  -  -  -  - |
   | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  - 21  - | - 21  -  - 21  - 21  - |
   | 21 -  - 20  -  - 19  - | - 18  -  - 17  - 16  - | 15 -  - 14  -  -  -  - | -  -  -  -  -  -  -  - |
-  | 0  -  -  0  -  -  0  - | -  0  -  - 21  - 21  - | 0  -  -  0  -  - 21  - | - 20  -  - 19  - 18  - |
+  | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  - 21  - | - 20  -  - 19  - 18  - |
   | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  - 21  - | - 21  -  - 21  - 21  - |
   | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  - 21  - | - 21  -  - 21  - 21  - |
@@ Line 353: / Line 355: @@
 </tt>
-In the double-long version, the highest voice moves twice as slowly. The 2nd highest voice moves mostly by single frets, once by 1.5 frets, and twice by a half-fret.
+Here the 2nd highest voice moves mostly by single frets, twice by a half-fret, and once by 1.5 frets.
 <tt>
     G   ^F#  vF#  ^F   vF    E
@@ Line 361: / Line 363: @@
 </tt>
-In both versions, the final 3 notes could have been 5 4 0 = vm3 M2 P1. But I liked the sound of the mid-2nd. Makes it more middle eastern. Another possibility is 6 3 0 = ^m3 ~2 P1, even more middle eastern. But the upper voice has just finished hanging on the vm3, so that seemed to fit better.
+Riff #2b double-long (decatonic version):
+ | 21 -  - 21  -  - 19  - | - 19  -  - 17  - 17  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 23 -  - 23  -  - 21  - | - 21  -  - 19  - 19  - |
+ | 21 -  - 20  -  - 19  - | - 18  -  - 17  - 16  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 23 -  - 22  -  - 21  - | - 20  -  - 19  - 18  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | 21 -  - 21  -  - 21  - | - 21  -  - 21  - 21  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | 21 -  - 21  -  - 21  - | - 21  -  - 21  - 21  - |
+ | 9  -  -  9  -  -  7  - | -  7  -  -  5  -  5  - | 5  -  -  5  -  -  5  - | -  5  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  -  0  - | -  0  -  -  -  -  -  - |
+ | 9  -  -  8  -  -  7  - | -  6  -  -  5  -  4  - | 3  -  -  2  -  -  1  - | -  0  -  -  -  -  -  - |
+ | 0  -  -  0  -  -  0  - | -  0  -  -  0  -  0  - | 0  -  -  0  -  -  0  - | -  0  -  -  5  3  0  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+ | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  -  -  -  -  -  - |
+</tt>
+In this version, the 2nd bar is slightly different:
+<tt>
+   G   ^F#  vF#  ^F   vF    E
+  ^Eb  vEb   D   ^C#  vC#  ^C
+   C   ^B   vB   ^Bb  vBb   A
+  ^G#  vG#  ^G    G   vF  vvE  D
+</tt>
+In all three versions, the final 3 notes could have been 5 4 0 = vm3 M2 P1. But I liked the sound of the mid-2nd. Makes it more middle eastern. Another possibility is 6 3 0 = ^m3 ~2 P1, even more middle eastern. But the upper voice has just finished hanging on the vm3, so that seemed to fit better.
 Riff #3:
@@ Line 386: / Line 413: @@
   x 0 4 x 0 4
 </tt>
+This song nicely illustrates 3 of the 5 broad categories of 41-equal scales:
+* pentatonic: riff #2 & #2a upper voice
+* heptatonic
+* semitonal: riff #1, riff #2 lower voice, riff #2b upper voice
+* trientonal/fretwise: riff #1a, riff #2a & #2b lower voice
+* microtonal