Kite Guitar: Difference between revisions

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Often there is only one obvious way to translate a song. I - V - VIm - IV becomes Iv - Vv - vVI^m - IVv. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.

In general, chords shouldn't use offperfect intervals (^4, v4, ^5, v5, ^8 or v8). Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. In general, avoid using plain major and minor 3rds and 6ths in a chord.

In general, chords shouldn't use offperfect intervals (^4, v4, ^5, v5, ^8, v8, ^12 or v12). However ^11 and v11 are acceptable. Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. In general, avoid using plain major and minor 3rds and 6ths in a chord.

12-equal's augmented triads and dim7 tetrads can be translated many ways. Ia can become I^a, Iva, Iv(vv#5) or even I^(^^5). Furthermore the root can be changed, so that Ca becomes ^E^(^^5)/C. Likewise Cd7 can become not only C^d7 or Cvd7, but also ^Avd7/C or vA^d7/C. The latter two are equivalent to C^d6 and Cvd6.

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In much music, especially pre-20th-century music, the dissonance of the dom7 chord is what drives the V7 - I cadence and gives the music momentum. But 41-equal's smooth v7 chord is like a guard dog that smiles and wags its tail at strangers instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place in a pre-20th-century context. One might instead use Vv,7 (down add-7, with a plain minor 7th) or Vv,^7 (down up-7, with an upminor 7th). For example, Am - G - F - E7 can be translated as A^m - ^Gv - ^Fv - Ev,^7. (This also avoids a pitch shift.)

For 20th-century music, a Vv7 chord is often appropriate. But when a stronger ~~V7 -~~ I ~~cadence~~ is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so both progressions feel unfinished. ~~Better is~~ II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.

For 20th-century music, a Vv7 chord is often appropriate. But when a stronger cadence to the I chord is desired, a V^7 chord often works better. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so both progressions feel unfinished. Often II^m7 - V^7 - IvM7 is better. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.

In IIm - V7 - I, where the I chord has no 7th, Vv7 works well. The progression can be tuned either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv. The IIvm7 chord is more connected to the V chord than II^m7. The Vv7 chord also works if the I chord has a minor 7th, i.e. Iv7.

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Ratios and cents, just intonation and EDOs, and the how and why of the Kite Guitar

===[[Kite Guitar ~~Information For Luthiers|Information for Luthiers~~]]===

===[[How to make a Kite Guitar]]===

General Design Considerations

@@ Line 547: / Line 547: @@
 Often there is only one obvious way to translate a song. I - V - VIm - IV becomes Iv - Vv - vVI^m - IVv. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.
-In general, chords shouldn't use offperfect intervals (^4, v4, ^5, v5, ^8 or v8). Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. In general, avoid using plain major and minor 3rds and 6ths in a chord.
+In general, chords shouldn't use offperfect intervals (^4, v4, ^5, v5, ^8, v8, ^12 or v12). However ^11 and v11 are acceptable. Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. In general, avoid using plain major and minor 3rds and 6ths in a chord.
 -equal's augmented triads and dim7 tetrads can be translated many ways. Ia can become I^a, Iva, Iv(vv#5) or even I^(^^5). Furthermore the root can be changed, so that Ca becomes ^E^(^^5)/C. Likewise Cd7 can become not only C^d7 or Cvd7, but also ^Avd7/C or vA^d7/C. The latter two are equivalent to C^d6 and Cvd6.
@@ Line 565: / Line 565: @@
 In much music, especially pre-20th-century music, the dissonance of the dom7 chord is what drives the V7 - I cadence and gives the music momentum. But 41-equal's smooth v7 chord is like a guard dog that smiles and wags its tail at strangers instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place in a pre-20th-century context. One might instead use Vv,7 (down add-7, with a plain minor 7th) or Vv,^7 (down up-7, with an upminor 7th). For example, Am - G - F - E7 can be translated as A^m - ^Gv - ^Fv - Ev,^7. (This also avoids a pitch shift.)
-For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so both progressions feel unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.
+For 20th-century music, a Vv7 chord is often appropriate. But when a stronger cadence to the I chord is desired, a V^7 chord often works better. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so both progressions feel unfinished. Often II^m7 - V^7 - IvM7 is better. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.
 In IIm - V7 - I, where the I chord has no 7th, Vv7 works well. The progression can be tuned either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv. The IIvm7 chord is more connected to the V chord than II^m7. The Vv7 chord also works if the I chord has a minor 7th, i.e. Iv7.
@@ Line 586: / Line 586: @@
 Ratios and cents, just intonation and EDOs, and the how and why of the Kite Guitar
-===[[Kite Guitar Information For Luthiers|Information for Luthiers]]===
+===[[How to make a Kite Guitar]]===
 General Design Considerations