Kite Guitar chord shapes (downmajor tuning): Difference between revisions

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See also [[41edo Chord Names]]

See also: [[41edo Chord Names|'''41edo Chord Names''']]

== Overview ==

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These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. The example chords are arbitrarily rooted on C. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret, even though C is not on the 4th fret. In these tables, the interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.

Chords are named using [[Ups and Downs Notation|ups and down notation]], see ~~also~~ the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72~~] and [[41edo Chord Names]~~]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.

Chords are named using [[Ups and Downs Notation|ups and down notation]], see the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.

Chord voicings are named using [[hi-lo notation]], as hi3, lo5, etc.

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'''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4, example note D) to any of the first 4 tetrads increases the intervallic odd-limit only slightly if at all. The up-7 chord is arguably improved by adding a 9th. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.

11th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain ~~a wolf~~ 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 is very difficult to play.

11th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain an offperfect 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 is very difficult to play.

The wordy min7b5 and the illogical half-dim can be replaced with dim add7. The cryptic superscripted-circle-with-slash symbol becomes either ^d^7 or vdv7.

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Every 6th chord has a 7th chord homonym, and vice versa. But a 7th chord with some sort of major 7th doesn't "flip" to a 6th chord as easily, because the 6th would be some sort of minor 6th, which is rare.

Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it's only possible for root-6 chords. Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and ~~hi6~~ (R 3 5 8 6).

Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it's only possible for root-6 chords (root on the 6th string). Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and hi6add8 (R 3 5 8 6).

The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.

Adding a major 9th (ratio 9/4) to any of these chords will make ~~a wolf~~ 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. Cv6,v9no5 is the same as vD^9no3 (or vD^m9no3). C^6,^9no5 is ^Dv9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.

Adding a major 9th (ratio 9/4) to any of these chords will make an offperfect 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. Cv6,v9no5 is the same as vD^9no3 (or vD^m9no3). C^6,^9no5 is ^Dv9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.

Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the intervallic odd-limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord. The ^m6,11 chord can be voiced hi35lo11, so that the 11th is a 4th. This is equivalent to a lo5 voicing of its homonym the ^9 chord.

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-See also [[41edo Chord Names]]
+See also: [[41edo Chord Names|'''41edo Chord Names''']]
 == Overview ==
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 These tables list all chords of odd-limit 9, plus a few with downmajor 7ths that are odd-limit 15. The example chords are arbitrarily rooted on C. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily on the 4th fret, even though C is not on the 4th fret. In these tables, the interval between open strings is always a downmajor 3rd. This makes the Kite guitar isomorphic, thus a tab like 4 6 3 5 can start on the 6th, 5th or 4th string, and of course any fret of that string. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.
-Chords are named using [[Ups and Downs Notation|ups and down notation]], see also the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72] and [[41edo Chord Names]]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.
+Chords are named using [[Ups and Downs Notation|ups and down notation]], see the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf notation guide for edos 5-72]. Briefly, an up or down in the chord name immediately after the root affects the 3rd, 6th, 7th and/or the 11th, but not the 5th, 9th or 13th. Thus Gv9 is G vB D vF A. Alterations are enclosed in parentheses, as in Cvm7(b5). Additions are set off with a comma (the punctuation mark, not the interval!). In general, the comma is spoken as "add", e.g. Cv,9 = "C down add-9" = C vE G D. Chord progressions are written as Cv7 - vEb^m6 - Fv7 or Iv7 - vbIII^m6 - IVv7.
 Chord voicings are named using [[hi-lo notation]], as hi3, lo5, etc.
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 '''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4, example note D) to any of the first 4 tetrads increases the intervallic odd-limit only slightly if at all. The up-7 chord is arguably improved by adding a 9th. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.
-th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 is very difficult to play.
+th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain an offperfect 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 is very difficult to play.
 The wordy min7b5 and the illogical half-dim can be replaced with dim add7. The cryptic superscripted-circle-with-slash symbol becomes either ^d^7 or vdv7.
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 Every 6th chord has a 7th chord homonym, and vice versa. But a 7th chord with some sort of major 7th doesn't "flip" to a 6th chord as easily, because the 6th would be some sort of minor 6th, which is rare.
-Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it's only possible for root-6 chords. Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and hi6 (R 3 5 8 6).
+Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th (3/6 in the tab indicates alternating between the 3rd and 6th fret). Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. It helps to double the root at the octave, i.e. play R 3 6 8 not R 3 6. Another voicing is the lo6 (6 R 3 5) i.e. the 3rd inversion. But this is the same as the close voicing of its 7th chord homonym, and again the chord can be mistaken. A non-ambiguous voicing is lo5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. The best voicing is hi35 (R 6 3 5 or R 6 8 3 5), but with only 6 strings, it's only possible for root-6 chords (root on the 6th string). Other possibilities are hi36 (R 5 3 6), hi5 (R 3 6 5 or R 3 6 8 5) and hi6add8 (R 3 5 8 6).
 The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.
-Adding a major 9th (ratio 9/4) to any of these chords will make a wolf 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. Cv6,v9no5 is the same as vD^9no3 (or vD^m9no3). C^6,^9no5 is ^Dv9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.
+Adding a major 9th (ratio 9/4) to any of these chords will make an offperfect 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th. It can be safely added if the 5th is omitted, but then the chord becomes ambiguous. Cv6,v9no5 is the same as vD^9no3 (or vD^m9no3). C^6,^9no5 is ^Dv9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21.
 Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the intervallic odd-limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord. The ^m6,11 chord can be voiced hi35lo11, so that the 11th is a 4th. This is equivalent to a lo5 voicing of its homonym the ^9 chord.