Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions
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6) Same as #3, but your 1st finger is only 4 frets lower to make an up-4th. Now bend the lower (4th finger) note up. | 6) Same as #3, but your 1st finger is only 4 frets lower to make an up-4th. Now bend the lower (4th finger) note up. | ||
In [[The Kite Guitar|relative tab]], these exercises are unison = (+1,-6 | In [[The Kite Guitar|relative tab]], these exercises are unison = (+1,-^6), 5th = (+1,+^5) and 4th = (+2,-^4), where ^6 means 6.5. | ||
Exactly how far you have to push the string sideways depends on your location on the neck. The most amount of travel is needed halfway up the neck, around the 5th dot (the [[KDF Fret Numbering|mid double]] dot). Closer to the nut or the bridge, you'll need less travel. | Exactly how far you have to push the string sideways depends on your location on the neck. The most amount of travel is needed halfway up the neck, around the 5th dot (the [[KDF Fret Numbering|mid double]] dot). Closer to the nut or the bridge, you'll need less travel. | ||
Half-fret bends can be notated in tablature by putting an up before the fret number. (In Musescore, to add an up, select Staff/Part Properties, then Advanced Style Properties, then Show fingerings in tablature. Then ups can be entered as fingerings.) | |||
=== The Circle of 5ths === | === The Circle of 5ths === | ||
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If you have enough frets, you can combine any leaping exercise with the circle of 5ths exercise. For example, start at Ab, leap up a 5th or an 8ve, leap back, move up a 4th to Db, leap up and down, move on to Gb, etc. Or start on Ab, leap up an 8ve, move up a 4th to Db, leap down, move up a 4th to Gb, etc. | If you have enough frets, you can combine any leaping exercise with the circle of 5ths exercise. For example, start at Ab, leap up a 5th or an 8ve, leap back, move up a 4th to Db, leap up and down, move on to Gb, etc. Or start on Ab, leap up an 8ve, move up a 4th to Db, leap down, move up a 4th to Gb, etc. | ||
You can leap up an octave using a half-fret bend by a move of (+2,+7 | You can leap up an octave using a half-fret bend by a move of (+2,+^7). Finally, you can combine this with the circle of 5ths exercise by repeatedly leaping up, leaping down, and moving up a 4th. | ||
You can add a vocal exercise to all this by singing what you play. | You can add a vocal exercise to all this by singing what you play. | ||
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==== Harmonics ==== | ==== Harmonics ==== | ||
These are written as <12> for the 12th-fret harmonic. The 2nd harmonic falls midway between the 20th and 21st frets, and is written as <20. | These are written as <12> for the 12th-fret harmonic. The 2nd harmonic falls midway between the 20th and 21st frets, and is written as <^20>. The 5th harmonic falls between the 6th and 7th fret, but closer to the 7th. It's written here as <6.6> for greater accuracy, but in guitar tablature it will usually be rounded off to <^6>. (In Musescore, to add an up, select Staff/Part Properties, then Advanced Style Properties, then Show fingerings in tablature. Then ups can be entered as fingerings.) | ||
Here are all the places harmonics 1-12 occur, excluding those above the 41st fret. Be sure to pluck on an [[wikipedia:Node_(physics)|anti-node]]. | |||
{| class="wikitable" | {| class="wikitable" | ||
|+ | |+ | ||
Harmonics on the Kite guitar | Harmonics 1-12 on the Kite guitar | ||
!harmonic --> | !harmonic --> | ||
!1 | !1 | ||
| Line 400: | Line 404: | ||
! rowspan="5" |fret | ! rowspan="5" |fret | ||
|open | |open | ||
|<20 | |<^20> | ||
|<12> | |<12> | ||
|<8 | |<^8> | ||
|<6.6> | |<6.6> | ||
|<5.4> | |<5.4> | ||
|<4 | |<^4> | ||
|<4> | |<4> | ||
|<3 | |<^3> | ||
|<3.1> | |<3.1> | ||
|<2.8> | |<2.8> | ||
|<17.9> | |<17.9> | ||
|<2. | |<2.6> | ||
|- | |- | ||
| | | | ||
| | | | ||
|<32 | |<^32> | ||
|<41> | |<41> | ||
|<15.1> | |<15.1> | ||
| Line 421: | Line 425: | ||
|<10> | |<10> | ||
|<13.9> | |<13.9> | ||
|<7 | |<^7> | ||
|<10 | |<^10> | ||
|<5.9> | |<5.9> | ||
|<23.3> | |<23.3> | ||
| Line 433: | Line 437: | ||
|<27.1> | |<27.1> | ||
| | | | ||
|<16 | |<^16> | ||
|<29> | |<29> | ||
|<17 | |<^17> | ||
|<35.6> | |<35.6> | ||
|<9.4> | |<9.4> | ||
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|3rd + 4th | |3rd + 4th | ||
|} | |} | ||
The last row of the table indicates combo-harmonics. These let you play a harmonic by node-ing twice. For example, the 6th harmonic can be played by node-ing both the 2nd and 3rd harmonic simultaneously, e.g. <20 | The last row of the table indicates combo-harmonics. These let you play a harmonic by node-ing twice. For example, the 6th harmonic can be played by node-ing both the 2nd and 3rd harmonic simultaneously, e.g. <^20> with <12>, or <^20> with <^32>. | ||
These harmonics, along with open strings, provide alternative fingerings for notes on the 13th, 14th and 15th frets: | These harmonics, along with open strings, provide alternative fingerings for notes on the 13th, 14th and 15th frets: | ||
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|- | |- | ||
|13 x x = x x 0 | |13 x x = x x 0 | ||
|x 14 = <20 | |x 14 = <^20> x | ||
|x x x 15 = <8 | |x x x 15 = <^8> x x x | ||
|- | |- | ||
|x x x 13 = <12> x x x | |x x x 13 = <12> x x x | ||
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|x x x x x 15 = <15.1> x x x x x | |x x x x x 15 = <15.1> x x x x x | ||
|} | |} | ||
In the last equation, the harmonic is ~6¢ sharp of the 41-equal note. | |||
=== Quarter-fret Bends, Sixth-fret Bends, etc. === | === Quarter-fret Bends, Sixth-fret Bends, etc. === | ||
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In 41-equal, 5-over intervals like 5/4 and 5/3 are about 6¢ flat. This issue is even more subtle than the innate-comma pentad, but still noticeable. One can correct this by applying a '''tenth-fret''' bend to certain notes of the chord. This sounds hard, but fortunately there are only a few chord shapes to apply this to. One quickly gets in the habit of "leaning on" certain notes in these shapes. | In 41-equal, 5-over intervals like 5/4 and 5/3 are about 6¢ flat. This issue is even more subtle than the innate-comma pentad, but still noticeable. One can correct this by applying a '''tenth-fret''' bend to certain notes of the chord. This sounds hard, but fortunately there are only a few chord shapes to apply this to. One quickly gets in the habit of "leaning on" certain notes in these shapes. | ||
For example, with a downmajor chord in R-5-10 (aka hi-3) voicing, bend the 3rd up slightly with your pinkie. Listen closely for interference beats that slow down as you bend up. It may help to play the actual coinciding harmonics first. As you play 4 x 3 x 5 x, play matching artificial harmonics at <10 | For example, with a downmajor chord in R-5-10 (aka hi-3) voicing, bend the 3rd up slightly with your pinkie. Listen closely for interference beats that slow down as you bend up. It may help to play the actual coinciding harmonics first. As you play 4 x 3 x 5 x, play matching artificial harmonics at <^10> x x x <^25> x, and also at x x <^9> x <17> x (see harmonics above). For a 4 x 3 5 5 x voicing, to bend the 3rd up, you'll need to pull your pinkie down towards the treble side of the fretboard. For a 1st inversion x 4 3 5 x x voicing, push your finger up towards the bass side. It's rather difficult to bend the 3rd in a close 4 4 3 5 x x voicing. | ||
It's also possible to correct the 6¢ sharpness of 5-under intervals by bending a note slightly <u>down</u>. Press the string firmly against the fingerboard and push it towards the bridge. This is harder to do by the nut, because bending down stretches the string behind the fret, and there's very little to stretch there. | It's also possible to correct the 6¢ sharpness of 5-under intervals by bending a note slightly <u>down</u>. Press the string firmly against the fingerboard and push it towards the bridge. This is harder to do by the nut, because bending down stretches the string behind the fret, and there's very little to stretch there. | ||
==== Primes 11 and 13 ==== | ==== Primes 11 and 13 ==== | ||
Whereas primes 5 and 7 are tuned slightly flat in 41-equal (5.8¢ and 3.0¢ respectively), primes 11 and 13 are slightly sharp (4.8¢ and 8.3¢ respectively). Thus ratios that have either 5 or 7 on one side and either 11 or 13 on the other are doubly mistuned. Bending up to ratios using 11 or 13 lets us fine-tune them. When primes 5 or 7 are present, best to underbend a bit, to match their flatness. This also makes primes 11 and 13 more accessible. For 13/8, the ^m6 is much easier to reach than the ~6. 11/6, 11/9 and 13/12 also become easier. | Whereas primes 5 and 7 are tuned slightly flat in 41-equal (5.8¢ and 3.0¢ respectively), primes 11 and 13 are slightly sharp (4.8¢ and 8.3¢ respectively). Thus ratios that have either 5 or 7 on one side and either 11 or 13 on the other are doubly mistuned. Bending up to ratios using 11 or 13 lets us fine-tune them. When primes 5 or 7 are present, best to underbend a bit, to match their flatness. This also makes ratios with primes 11 and 13 more physically accessible. For 13/8, the ^m6 is much easier to reach than the ~6. 11/6, 11/9 and 13/12 also become easier. | ||
11-over and 13-over ratios require just under a half | 11-over and 13-over ratios require just under a half-fret bend. 11-under and 13-under ones require just over a half-fret bend. Both are denoted here with an up, e.g. ^4. | ||
{| class="wikitable" | {| class="wikitable" | ||
|+Augmented triads using primes 11 or 13 | |+Augmented triads using primes 11 or 13 | ||
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|up-downsharp5 | |up-downsharp5 | ||
|C^(v#5) = C ^E vG# | |C^(v#5) = C ^E vG# | ||
|4 5 | |4 5 ^4 | ||
|1 3 2 | |1 3 2 | ||
|- | |- | ||
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|down-upsharp5 | |down-upsharp5 | ||
|Cv(^#5) = C vE ^G# | |Cv(^#5) = C vE ^G# | ||
|4 4 | |4 4 ^5 | ||
|1 2 3 | |1 2 3 | ||
|} | |} | ||