Kite Guitar translations by Kite Giedraitis: Difference between revisions

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=== 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 hi37 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 that requires 7 strings.

Sources:

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https://www.youtube.com/watch?v=brzqk9Zksuo (Wanda Jackson 1969)

The ~~song pumps the meantone comma [[81/80]]. I chose to break the comma pump between the~~ I and VI chords~~. Because the VI chord is major not minor, it has only one~~ common ~~tone with the I chord~~, the 3rd of the scale. I ~~prefer the shifting~~ 3rd ~~to an offperfect root movement in~~ the VI~~-II-V-I series of 4thward cadences~~. Fortunately none of the singers holds ~~the shifting note~~ across both chords. This type of ~~comma pump~~ is very common in barbershop, and this way of resolving the comma ~~issue~~ is usually the best way.

The I and VI7 chords have two common tones, the 3rd and 5th of the scale. The interval between these two notes depends on the chord. The I chord tunes them an upminor 3rd apart and the VI chord tunes them a downminor 3rd apart. Thus one or both notes must shift. Fortunately none of the singers holds either common tone across both chords. In fact each common tone appears not only in a different voice but also in a different octave, helping to mask any shifts. Still, if only one note shifts, it would be by a full fret, quite noticeable even if in a different octave. Instead I chose to have the 3rd shift up by a half-fret and the 5th shift down by a half-fret.

This type of chord progression is very common in barbershop, and this way of resolving the comma issues is usually the best way. Not only does it avoid a full fret pitch shift, it's also the only way to get three perfect root movements in the VI7-II7-V7-I series of 4thward cadences. (As opposed to say Iv - vVIv7 - IIv7 - Vv7 - Iv, in which the vVI to II root movement is an offperfect 4th or 5th.)

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 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~~.

The guitar key is vBb if in high-7 tuning and Gb if in low-7 tuning. The VI7 chord's 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 2x1x3x0 to become 2x133x0.

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 === 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 hi37 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 that requires 7 strings.
 Sources:
@@ Line 1,630: / Line 1,630: @@
 https://www.youtube.com/watch?v=brzqk9Zksuo (Wanda Jackson 1969)
-The song pumps the meantone comma [[81/80]]. I chose to break the comma pump between the I and VI chords. Because the VI chord is major not minor, it has only one common tone with the I chord, the 3rd of the scale. I prefer the shifting 3rd to an offperfect root movement in the VI-II-V-I series of 4thward cadences. Fortunately none of the singers holds the shifting note across both chords. This type of comma pump is very common in barbershop, and this way of resolving the comma issue is usually the best way.
+The I and VI7 chords have two common tones, the 3rd and 5th of the scale. The interval between these two notes depends on the chord. The I chord tunes them an upminor 3rd apart and the VI chord tunes them a downminor 3rd apart. Thus one or both notes must shift. Fortunately none of the singers holds either common tone across both chords. In fact each common tone appears not only in a different voice but also in a different octave, helping to mask any shifts. Still, if only one note shifts, it would be by a full fret, quite noticeable even if in a different octave. Instead I chose to have the 3rd shift up by a half-fret and the 5th shift down by a half-fret.
+This type of chord progression is very common in barbershop, and this way of resolving the comma issues is usually the best way. Not only does it avoid a full fret pitch shift, it's also the only way to get three perfect root movements in the VI7-II7-V7-I series of 4thward cadences. (As opposed to say Iv - vVIv7 - IIv7 - Vv7 - Iv, in which the vVI to II root movement is an offperfect 4th or 5th.)
 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 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.
+The guitar key is vBb if in high-7 tuning and Gb if in low-7 tuning. The VI7 chord's 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 2x1x3x0 to become 2x133x0.
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