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Kite Guitar translations by Kite Giedraitis: Difference between revisions

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→Barbershop tags: updated the hi-lo notation, added links to the hi-lo page
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=== Please Don't Sell My Daddy No More Wine (Tom Lane) ===
=== Please Don't Sell My Daddy No More Wine (Tom Lane) ===
A rather conventional country song from 1964 that is the basis for a very popular barbershop tag. The tag is full of dom7 chords tuned 4:5:6:7. Very natural to play on the Kite guitar and very easy to translate, except that one of the chords has a hi-3-7 voicing and needs 7 strings.  
A rather conventional country song from 1964 that is the basis for a very popular barbershop tag. The tag is full of dom7 chords tuned 4:5:6:7. Very natural to play on the Kite guitar and very easy to translate, except that one of the chords has a hi37 voicing and needs 7 strings.  


Sources:
Sources:
Line 1,565: Line 1,565:
The tenor's P1 is everyone else's P8. The tag can be played note-for-note on the guitar, except that the 2nd to last bass note is on the same string as the baritone's note. The tablature solves this problem with a tapped note on the 19th fret. Or one could have the baritone's note disappear briefly and play xx686xx. The passing IIm7 chord for "He's" is unfortunately a bit awkward to play rapidly. This "He's" swipe, along with the bass's "All" flourish and the baritone's "Mine" flourish, can be omitted if the guitar is accompanying a barbershop quartet.  
The tenor's P1 is everyone else's P8. The tag can be played note-for-note on the guitar, except that the 2nd to last bass note is on the same string as the baritone's note. The tablature solves this problem with a tapped note on the 19th fret. Or one could have the baritone's note disappear briefly and play xx686xx. The passing IIm7 chord for "He's" is unfortunately a bit awkward to play rapidly. This "He's" swipe, along with the bass's "All" flourish and the baritone's "Mine" flourish, can be omitted if the guitar is accompanying a barbershop quartet.  


The guitar key is vBb if in high-7 tuning and Gb if in low-7 tuning. The hi-3-5 voicing that requires 7 strings happens to be a 2:3:5:7 voicing. This is a nearly [[Odd limit|all-odd-numbers]] voicing, and thus one of the most consonant voicings possible. When played with an open string, it's quite natural for 2 . 1 . 3 . 0 to become 2 . 1 3 3 . 0.
The guitar key is vBb if in high-7 tuning and Gb if in low-7 tuning. The hi35 voicing that requires 7 strings happens to be a 2:3:5:7 voicing. This is a nearly [[Odd limit|all-odd-numbers]] voicing, and thus one of the most consonant voicings possible. When played with an open string, it's quite natural for 2 . 1 . 3 . 0 to become 2 . 1 3 3 . 0.
{| class="wikitable"
{| class="wikitable"
|+
|+
Line 1,572: Line 1,572:
! colspan="4" |[[41edo solfege|solfege]]
! colspan="4" |[[41edo solfege|solfege]]
! colspan="2" |7- string guitar tab
! colspan="2" |7- string guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chords and
their [[Hi-lo notation|voicings]]
|-
|-
!Bass
!Bass
Line 1,597: Line 1,598:
|7 - 6 8 8 - -
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3 add-8
|hi3add8
|-
|-
|Daddy No More
|Daddy No More
Line 1,625: Line 1,626:
|7 - 6 8 8 - -
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3 add-8
|hi3add8
|-
|-
|Wine
|Wine
Line 1,639: Line 1,640:
|2 - 1 - 3 - 0
|2 - 1 - 3 - 0
|VIv7
|VIv7
|hi-3-7
|hi37
|-
|-
|He May Be No
|He May Be No
Line 1,653: Line 1,654:
| - 4 - 3 1 5 -
| - 4 - 3 1 5 -
|IIv7
|IIv7
|hi-3
|hi3
|-
|-
|Good, But
|Good, But
Line 1,681: Line 1,682:
| - 4 - 3 1 3 -
| - 4 - 3 1 3 -
|IIvm7
|IIvm7
|hi-3
|hi3
|-
|-
|All
|All
Line 1,715: Line 1,716:
|7 - 6 8 8 - -
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3 add-8
|hi3add8
|-
|-
| rowspan="3" |All
| rowspan="3" |All
Line 1,736: Line 1,737:
|19 - 9 8 6 - -
|19 - 9 8 6 - -
|IVv9noR
|IVv9noR
|lo-9
|lo9
|-
|-
|P4
|P4
Line 1,755: Line 1,756:
|7 - 9 8 8 - -
|7 - 9 8 8 - -
|Iv6no5
|Iv6no5
|hi-3 add-8
|hi3add8
|-
|-
|P5
|P5
Line 1,762: Line 1,763:
|7 - 6 8 8 - -
|7 - 6 8 8 - -
|Iv
|Iv
|hi-3 add-8
|hi3add8
|}
|}


Line 1,774: Line 1,775:
! colspan="4" |[[41edo solfege|solfege]]
! colspan="4" |[[41edo solfege|solfege]]
! colspan="2" |6- string guitar tab
! colspan="2" |6- string guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chords and
 
their [[Hi-lo notation|voicings]]
! colspan="2" rowspan="2" |chord
! colspan="2" rowspan="2" |chord
homonyms
homonyms
Line 1,844: Line 1,847:
|24 - 14 13 13 -
|24 - 14 13 13 -
|vVI^m7
|vVI^m7
|lo-7
|lo7
|Iv6
|Iv6
|lo-5-6
|lo56
|-
|-
| rowspan="2" |Time
| rowspan="2" |Time
Line 1,869: Line 1,872:
| - 16 14 16 - 0
| - 16 14 16 - 0
|vII^7
|vII^7
|hi-R
|hiR
| colspan="2" rowspan="2" |
| colspan="2" rowspan="2" |
|-
|-
Line 1,893: Line 1,896:
| - 14 12 16 - 0
| - 14 12 16 - 0
|vII^d^7
|vII^d^7
|hi-R
|hiR
|bVIIv9noR
|bVIIv9noR
|hi-3
|hi3
|-
|-
|South
|South
Line 1,909: Line 1,912:
|12 - 11 13 13 -
|12 - 11 13 13 -
|Iv
|Iv
|hi-3 add-8
|hi3add8
| colspan="2" |
| colspan="2" |
|}
|}
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 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]].
What about other voicings? In a lo3 voicing, 14/(12:7:5:4) has larger ratios than 3:5:7:9, and thus is inferior to it. But in a hi3 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 hiR 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.  
Line 1,926: Line 1,929:
! colspan="4" |[[41edo solfege|solfege]]
! colspan="4" |[[41edo solfege|solfege]]
! colspan="2" |6- string guitar tab
! colspan="2" |6- string guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chords and
 
their [[Hi-lo notation|voicings]]
! colspan="2" rowspan="2" |chord
! colspan="2" rowspan="2" |chord
homonyms
homonyms
Line 1,996: Line 2,001:
|24 - 14 13 13 -
|24 - 14 13 13 -
|vVI^m7
|vVI^m7
|lo-7
|lo7
|Iv6
|Iv6
|lo-5-6
|lo56
|-
|-
| rowspan="2" |Time
| rowspan="2" |Time
Line 2,023: Line 2,028:
| - 16 '''15''' '''17''' - 0
| - 16 '''15''' '''17''' - 0
|'''^IIv7'''
|'''^IIv7'''
|hi-R
|hiR
| colspan="2" rowspan="2" |
| colspan="2" rowspan="2" |
|-
|-
Line 2,047: Line 2,052:
| - 14 12 16 - 0
| - 14 12 16 - 0
|vII^d^7
|vII^d^7
|hi-R
|hiR
|bVIIv9noR
|bVIIv9noR
|hi-3
|hi3
|-
|-
|South
|South
Line 2,063: Line 2,068:
|12 - 11 13 13 -
|12 - 11 13 13 -
|Iv
|Iv
|hi-3 add-8
|hi3add8
| colspan="2" |
| colspan="2" |
|}
|}
Line 2,077: Line 2,082:
! colspan="4" |[[41edo solfege|solfege]]
! colspan="4" |[[41edo solfege|solfege]]
! colspan="2" |7-string guitar tab
! colspan="2" |7-string guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chords and
 
their [[Hi-lo notation|voicings]]
! colspan="2" rowspan="2" |chord
! colspan="2" rowspan="2" |chord
homonyms
homonyms
Line 2,104: Line 2,111:
|  - 5 - 4 2 6 -
|  - 5 - 4 2 6 -
|IVv7
|IVv7
|hi-3
|hi3
| colspan="2" rowspan="4" |
| colspan="2" rowspan="4" |
|-
|-
Line 2,119: Line 2,126:
|  - 7 9 9 - 6 -
|  - 7 9 9 - 6 -
|VIIv7
|VIIv7
|lo-5
|lo5
|-
|-
| rowspan="11" |South
| rowspan="11" |South
Line 2,145: Line 2,152:
|  - - - 4 4 3 5
|  - - - 4 4 3 5
|Iv
|Iv
|close add-8
|add8
|-
|-
|vm7
|vm7
Line 2,152: Line 2,159:
|  - - - 0 4 3 5
|  - - - 0 4 3 5
|Iv7
|Iv7
|hi-R lo-7
|hiRlo7
|-
|-
|vM6
|vM6
Line 2,163: Line 2,170:
|  - - 5 7 6 - 5
|  - - 5 7 6 - 5
|vII^m7
|vII^m7
|lo-5
|lo5
|IVv6
|IVv6
|lo-36
|lo36
|-
|-
|^m6
|^m6
Line 2,176: Line 2,183:
|  - - 4 - 3 1 5
|  - - 4 - 3 1 5
|^bVIv7
|^bVIv7
|hi-3
|hi3
| colspan="2" rowspan="2" |
| colspan="2" rowspan="2" |
|-
|-
Line 2,188: Line 2,195:
|  - - 2 - 4 3 5
|  - - 2 - 4 3 5
|Iv
|Iv
|hi-R lo-5 add-5
|hiRaddlo5
|-
|-
|P4
|P4
Line 2,199: Line 2,206:
|  - 5 - 7 - 6 5
|  - 5 - 7 - 6 5
|vII^m7
|vII^m7
|lo-3
|lo3
|IVv6
|IVv6
|hi-35
|hi35
|-
|-
|vM3
|vM3
Line 2,212: Line 2,219:
|  - 3 - 4 - 3 5
|  - 3 - 4 - 3 5
|Iv
|Iv
|lo-3 add-8
|lo3add8
| colspan="2" |
| colspan="2" |
|-
|-
Line 2,222: Line 2,229:
| - 2 - 1 - 3 5
| - 2 - 1 - 3 5
|^bIIIv6
|^bIIIv6
|hi-3-6
|hi36
|(I^m7)
|(I^m7)
|(lo-37 hi-R)
|(hiRlo37)
|-
|-
|^M2
|^M2
Line 2,235: Line 2,242:
|7 - 6 - 8 - 5
|7 - 6 - 8 - 5
|^IIv7
|^IIv7
|hi-3-7
|hi37
| colspan="2" rowspan="3" |
| colspan="2" rowspan="3" |
|-
|-
Line 2,247: Line 2,254:
|5 - 4 - 6 - 5
|5 - 4 - 6 - 5
|^bIIvM7
|^bIIvM7
|hi-3-7
|hi37
|-
|-
|P1
|P1
Line 2,258: Line 2,265:
|3 - 2 - 4 - 5
|3 - 2 - 4 - 5
|Iv
|Iv
|hi-3 add-hi-8
|hi3addhi8
|}
|}


Line 2,271: Line 2,278:
! colspan="4" |[[41edo solfege|solfege]]
! colspan="4" |[[41edo solfege|solfege]]
! colspan="2" |8-string guitar tab
! colspan="2" |8-string guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chords and
 
their [[Hi-lo notation|voicings]]
! colspan="2" rowspan="2" |chord
! colspan="2" rowspan="2" |chord
homonyms
homonyms
Line 2,337: Line 2,346:
| - - 9 9 8 10 - -
| - - 9 9 8 10 - -
|Iv
|Iv
|add-8
|add8
|-
|-
|Is
|Is
Line 2,345: Line 2,354:
| - - 7 9 8 10 - -
| - - 7 9 8 10 - -
|IvM7
|IvM7
|hi-R lo-7
|hiRlo7
|-
|-
|Still
|Still
Line 2,353: Line 2,362:
| - 10 - 9 8 10 - -
| - 10 - 9 8 10 - -
|Iv6
|Iv6
|hi-R lo-6
|hiRlo6
|vVI^m7
|vVI^m7
|hi-3
|hi3
|-
|-
|Worth-
|Worth-
Line 2,363: Line 2,372:
| - 7 - 9 8 10 - -
| - 7 - 9 8 10 - -
|Iv
|Iv
|hi-R lo-5 add-5
|hiRaddlo5
| colspan="2" rowspan="2" |
| colspan="2" rowspan="2" |
|-
|-
Line 2,372: Line 2,381:
| - 9 - 8 10 10 - -
| - 9 - 8 10 10 - -
|^bVIv
|^bVIv
|hi-3 add-8
|hi3add8
|-
|-
|Darn
|Darn
Line 2,384: Line 2,393:
|10 - 12 - 9 10 - -
|10 - 12 - 9 10 - -
|IVvm6
|IVvm6
|hi-35
|hi35
|bVIIv9noR
|bVIIv9noR
|lo-5
|lo5
|-
|-
|Ya  
|Ya  
Line 2,400: Line 2,409:
|close
|close
|"
|"
|hi-3
|hi3
|-
|-
|Smile
|Smile
Line 2,412: Line 2,421:
| - - 9 - 8 10 10 -
| - - 9 - 8 10 10 -
|Iv
|Iv
|hi-3 add-8
|hi3add8
| colspan="2" |
| colspan="2" |
|}
|}
Line 2,424: Line 2,433:
! colspan="4" |[[41edo solfege|solfege]]
! colspan="4" |[[41edo solfege|solfege]]
! colspan="2" |8-string guitar tab
! colspan="2" |8-string guitar tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chords and
 
their [[Hi-lo notation|voicings]]
! colspan="2" rowspan="2" |chord
! colspan="2" rowspan="2" |chord
homonyms
homonyms
Line 2,490: Line 2,501:
| - - 8 8 7 9 - -
| - - 8 8 7 9 - -
|Iv
|Iv
|add-8
|add8
|-
|-
|Is
|Is
Line 2,498: Line 2,509:
| - - 6 8 7 9 - -
| - - 6 8 7 9 - -
|IvM7
|IvM7
|hi-R lo-7
|hiRlo7
|-
|-
|Still
|Still
Line 2,506: Line 2,517:
| - 9 - 8 7 9 - -
| - 9 - 8 7 9 - -
|Iv6
|Iv6
|hi-R lo-6
|hiRlo6
|vVI^m7
|vVI^m7
|hi-3
|hi3
|-
|-
|Worth-
|Worth-
Line 2,516: Line 2,527:
| - 6 - 8 7 9 - -
| - 6 - 8 7 9 - -
|Iv
|Iv
|hi-R lo-5 add-5
|hiRaddlo5
| colspan="2" rowspan="2" |
| colspan="2" rowspan="2" |
|-
|-
Line 2,525: Line 2,536:
| - 8 - 7 9 9 - -
| - 8 - 7 9 9 - -
|^bVIv
|^bVIv
|hi-3 add-8
|hi3add8
|-
|-
|Darn
|Darn
Line 2,537: Line 2,548:
|9 - 12 - 9 9 - -
|9 - 12 - 9 9 - -
|'''IV^m6'''
|'''IV^m6'''
|hi-35
|hi35
|'''bVII^9noR'''
|'''bVII^9noR'''
|lo-5
|lo5
|-
|-
|Ya  
|Ya  
Line 2,553: Line 2,564:
|close
|close
|'''"'''
|'''"'''
|hi-3
|hi3
|-
|-
|Smile
|Smile
Line 2,565: Line 2,576:
| - - 8 - 7 9 9 -
| - - 8 - 7 9 9 -
|Iv
|Iv
|hi-3 add-8
|hi3add8
| colspan="2" |
| colspan="2" |
|}
|}
Line 2,581: Line 2,592:
! colspan="2" |6-string tab
! colspan="2" |6-string tab
!7-string tab
!7-string tab
! colspan="2" rowspan="2" |chords
! colspan="2" rowspan="2" |chords and
 
their [[Hi-lo notation|voicings]]
! colspan="2" rowspan="2" |chord homonyms
! colspan="2" rowspan="2" |chord homonyms
|-
|-
Line 2,609: Line 2,622:
| - - 5 7 7 - 4
| - - 5 7 7 - 4
|Iv7
|Iv7
|lo-5
|lo5
| colspan="2" |
| colspan="2" |
|-
|-
Line 2,625: Line 2,638:
| - - 5 - 2 2 4
| - - 5 - 2 2 4
|Vvdv7
|Vvdv7
|hi-3
|hi3
|vbVII^m6
|vbVII^m6
|hi-R lo-6
|hiRlo6
|-
|-
|Of
|Of
Line 2,642: Line 2,655:
| - - 5 7 7 9 -
| - - 5 7 7 9 -
|Iv6
|Iv6
|lo-5
|lo5
| colspan="2" |
| colspan="2" |
|-
|-
Line 2,658: Line 2,671:
| - - 5 5 7 6 -
| - - 5 5 7 6 -
|vIII^m
|vIII^m
|hi-R add-10
|hiRadd10
|Vv6no5
|Vv6no5
|close add-8
|add8
|-
|-
|dom
|dom
Line 2,691: Line 2,704:
| - - 5 3 7 6 -
| - - 5 3 7 6 -
|Vvm6no5
|Vvm6no5
|close add-8
|add8
|Iv7noR
|Iv7noR
|lo-5-7 add-5
|lo7addlo5
|-
|-
|It
|It
Line 2,734: Line 2,747:
| - 4 6 7 5 - -
| - 4 6 7 5 - -
|vbVI^  
|vbVI^  
|lo-5 add-5
|addlo5
|IVvm7noR
|IVvm7noR
|lo-7 add-7
|addlo7
|-
|-
|P1
|P1
Line 2,748: Line 2,761:
|6 - 5 7 7 - -
|6 - 5 7 7 - -
|Iv
|Iv
|hi-3 add-8
|hi3add8
| colspan="2" |
| colspan="2" |
|}
|}
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