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How to make a Kite Guitar: Difference between revisions

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→DIY frets: added a section on cable-tie guitars. other minor changes to other sections as well
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There are two types of [[The Kite Guitar|Kite Guitar]] fretboards, even-frets and odd-frets. In the former, all or almost all of the frets are an even number of 41-equal steps from the nut. In the latter, it's an odd number. The even-frets layout is primarily for isomorphic ("same-shape") tunings and the odd-frets layout is primarily for open tunings. Most of the research and development to date has focused on the even-frets layout.
There are two types of [[The Kite Guitar|Kite Guitar]] fretboards, even-frets and odd-frets. In the former, all or almost all of the frets are an even number of 41-equal steps from the nut. In the latter, it's an odd number. The even-frets layout is primarily for isomorphic ("same-shape") tunings and the odd-frets layout is primarily for open tunings. Most of the research and development to date has focused on the even-frets layout.


==== In-between frets ====
An odd-frets guitar can be converted to an even-frets one simply by capoing. An even-frets one can be converted to odd-frets similarly if there is an additional fret (or fret slot that accepts a temporary fret) near the nut. There are also advantages musically to this extra fret even if not using open tunings. The extra fret or "in between" fret is named the "a-fret" if it's between the nut and the 1st fret, "b-fret" if it's between the 1st and 2nd frets, etc. (An alternative terminology is 0.5-fret, 1.5-fret, etc.) A b-fret or b-fret-slot might be better for acoustics, which tend to have higher nuts, which might make capoing only 29¢ from the nut difficult. An empty fret slot does not interfere at all with normal play. Thus there is absolutely no downside to having an a-slot and/or a b-slot, and it's <u>highly</u> recommended.
An odd-frets guitar can be converted to an even-frets one simply by capoing. An even-frets one can be converted to odd-frets similarly if there is an additional fret (or fret slot that accepts a temporary fret) near the nut. There are also advantages musically to this extra fret even if not using open tunings. The extra fret or "in between" fret is named the "a-fret" if it's between the nut and the 1st fret, "b-fret" if it's between the 1st and 2nd frets, etc. (An alternative terminology is 0.5-fret, 1.5-fret, etc.) A b-fret or b-fret-slot might be better for acoustics, which tend to have higher nuts, which might make capoing only 29¢ from the nut difficult. An empty fret slot does not interfere at all with normal play. Thus there is absolutely no downside to having an a-slot and/or a b-slot, and it's <u>highly</u> recommended.


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On a Kite guitar, each string fills in the missing notes on the neighboring strings. But there are 6 missing notes in the very upper and lower ranges. The 6 gaps in the upper range are fairly easily filled with half-fret bends. To fill the 6 low gaps, one might want short "fretlets" on the lowest string, especially on a bass guitar. Their names run from a-fretlet to f-fretlet.
On a Kite guitar, each string fills in the missing notes on the neighboring strings. But there are 6 missing notes in the very upper and lower ranges. The 6 gaps in the upper range are fairly easily filled with half-fret bends. To fill the 6 low gaps, one might want short "[https://Fretlet.com fretlets]" on the lowest string, especially on a bass guitar. Their names run from a-fretlet to f-fretlet.  
[[File:Bass fretlets.jpg|none|thumb|661x661px|Kite bass with 6 fretlets]]


===Scale length and number of strings===
===Scale length and number of strings===
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The frets should be as narrow as possible, because the frets are so closely spaced high up on the neck. One can always manage to produce the desired note, even with wide frets closely packed. But to get good sustain, it helps to get one's finger behind the fret, so that the fleshy fingertip doesn't overhang the fret and deaden the note. The narrower the fretwire, the easier that is.  
The frets should be as narrow as possible, because the frets are so closely spaced high up on the neck. One can always manage to produce the desired note, even with wide frets closely packed. But to get good sustain, it helps to get one's finger behind the fret, so that the fleshy fingertip doesn't overhang the fret and deaden the note. The narrower the fretwire, the easier that is.  


If the fretwire is somewhat tall, that aids microbending to sharpen the downmajor 3rds, because one can simply squeeze those notes harder. Taller frets also prolong the life of the frets, since repeated fret jobs over the years wear them down.  
If the fretwire is somewhat tall, that aids microbending to sharpen the downmajor 3rds, because one can simply squeeze those notes harder. Taller frets also prolong the life of the frets, since repeated fret leveling over the years wears them down.  


===Replacing each fret vs. replacing the entire fretboard===
===Replacing each fret vs. replacing the entire fretboard===
When converting a guitar, it's best to replace the entire fretboard, rather than removing the frets and putting new frets in the old fretboard. The 41-equal 5th is 702.5¢, so two frets will be only 2.5¢ away from the old ones, two will be 5¢ away, etc. So the old and new fret slots overlap, making conversion difficult. The following table shows the distance from the old fret to the new fret for close pairs. One could just use the old slots (or even the old frets) and accept a few cents error. But in certain keys a 5¢ error will make the downmajor 6th or 10th that's already 6¢ flat a full 11¢ flat.
When converting a guitar, it's best to replace the entire fretboard, rather than removing the frets and putting new frets in the old fretboard. Here's why: the 41-equal 5th is 702.5¢, so two frets will be only 2.5¢ away from the old 12-equal frets, two will be 5¢ away, etc. So the old and new fret slots overlap, making conversion difficult. The following table shows the distance from the old fret to the new fret for close pairs. One could just use the old slots (or even the old frets) and accept a few cents error. But in certain keys a 5¢ error will make the downmajor 6th or 10th that's already 6¢ flat a full 11¢ flat.
{| class="wikitable center-all"
{| class="wikitable center-all"
|+distance between fret slots (center to center, scale = 25.5")
|+distance between fret slots (center to center, scale = 25.5")
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===Adding in-between frets or fretlets===
===Adding in-between frets or fretlets===
This section covers adding new frets or [https://Fretlet.com fretlets] (short frets that don't reach all the strings) to an already completed Kite guitar. The fret you are adding may or may not have a tang, and you may or may not need to cut a fret slot for it. A tangless fret is secured with glue or two-sided tape. You can place it temporarily with ordinary tape over the top of it, and check the cents with a tuner. Then mark the position with a pencil and attach it more permanently. Or you can use the following formulas.
This section covers adding new frets or [https://Fretlet.com fretlets] (short frets that don't reach all the strings) to an already completed Kite guitar. The fret you are adding may or may not have a tang, and you may or may not need to cut a fret slot for it. A tangless fret is secured with glue or two-sided tape. You can place it temporarily with ordinary tape over the top of it, and check the cents with a tuner. Then mark the position with a pencil and attach it more permanently with superglue. Or you can find the correct position using the following formulas.


To add <u>tangless</u> frets, measure X and F (or X+F and F) like so:
To add <u>'''tangless'''</u> frets, measure X and F (or X+F and F) like so:
[[File:FretletPlacement1.jpg|none|thumb]]
[[File:FretletPlacement1.jpg|none|thumb]]
The new fret will not be exactly equidistant from the neighboring frets. It will be slightly closer to the higher one. The formulas are:
The new fret will not be exactly equidistant from the neighboring frets. It will be slightly closer to the higher one. The formulas are:
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Use either D1 or D2, or both, to place the fret.
Use either D1 or D2, or both, to place the fret.
[[File:FretletPlacement2.jpg|none|thumb]]
[[File:FretletPlacement2.jpg|none|thumb]]
If one is instead cutting a fret-slot for a fret with a tang, D1 and D2 are the distances from the edge of the original fret to the center of the new fret slot. Use the same formulas, but measure X and F like so:
If one is instead cutting a fret-slot for a <u>'''fret with a tang'''</u>, D1 and D2 are the distances from the edge of the original fret to the center of the new fret slot. Use the same formulas, but measure X and F like so:
[[File:FretletPlacement3.jpg|none|thumb]]
[[File:FretletPlacement3.jpg|none|thumb]]
Incidentally, these formulas work for any edo. Just change the value of K. If adding frets to a 12-edo guitar to convert it to 24edo:
Incidentally, these formulas work for any edo. Just change the value of K. If adding frets to a 12-edo guitar to convert it to 24edo:
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On an even-frets layout, dots (fretboard markers) are placed every 4 frets in a cycle of single-double-triple. So, the 4th fret has a single dot, the 8th fret has double dots, the 12th fret has triple dots, and then the 16th fret is back to single, and so on. Thus, a 36-fret guitar (pictured) has 18 dots on 9 frets, and a 41-fret guitar has 19 dots on 10 frets.
On an even-frets layout, dots (fretboard markers) are placed every 4 frets in a cycle of single-double-triple. So, the 4th fret has a single dot, the 8th fret has double dots, the 12th fret has triple dots, and then the 16th fret is back to single, and so on. Thus, a 36-fret guitar (pictured) has 18 dots on 9 frets, and a 41-fret guitar has 19 dots on 10 frets.
[[File:Ovation fretboard.jpg|none|thumb|538x538px]]
[[File:Ovation fretboard.jpg|none|thumb|538x538px]]
The small dots on the side of the neck follow the same single/double/triple pattern. The double and triple dots are oriented like the usual 12-equal double dots. At the 36th fret, the triple dots are too wide to fit between the frets. This is not a problem if there is no binding and each fret's tang stops short of the edge of the fretboard, as is the case with the removable b-fret shown [[How to make a Kite Guitar#Even-frets vs. odd-frets|above]]. Otherwise, the triple side dots can be placed in a triangle.
The small dots on the side of the neck follow the same single/double/triple pattern. The double and triple dots are oriented like the usual 12-equal double dots. At the 36th fret, the triple dots are too wide to fit between the frets. This is not a problem if there is no binding and each fret's tang stops short of the edge of the fretboard, as is the case with the removable b-fret shown [[How to make a Kite Guitar#Even-frets vs. odd-frets|above]]. Otherwise, only the 35th and 36th frets can have their tangs stop short. As a last resort, the triple side dots can be placed in a triangle.


Because the frets get closer as one goes up the neck, the double dots are closer to the triple dots than the single dots. As a result, if the distance between the double dots is the same as the distance between any two of the triple dots, the side of each "kite" formed by the dots is a concave line. To make a nice straight line, use the spreadsheet from [[How to make a Kite Guitar#Fret%20Placement|above]].
Because the frets get closer as one goes up the neck, the double dots are closer to the triple dots than the single dots. As a result, if the distance between the double dots is the same as the distance between any two of the triple dots, the side of each "kite" formed by the dots is a concave line. To make a nice straight line, use the spreadsheet from [[How to make a Kite Guitar#Fret%20Placement|above]].
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* half-round dental clasp wire
* half-round dental clasp wire
*tangless fretwire meant for [[wikipedia:Parker_Guitars|Parker guitars]]
*tangless fretwire meant for [[wikipedia:Parker_Guitars|Parker guitars]]
*plastic cable ties aka zip ties (easiest to apply)
*[https://Fretlet.com fretlets] from John Schneider
*short sections of an old guitar string (good for a radiused fretboard)
*plastic cable ties aka zip ties (easiest to install)


For the metal materials, use double-sided sticky tape to attach the fret. Check the placement with an electronic tuner. Works best on an unradiused fretboard.
For the guitar string sections, use packaging tape over the fret. For the other metal materials, use double-sided sticky tape under the fret. Check the placement with an electronic tuner.  
 
=== Cable ties ===
Cable ties work better with a nylon-string guitar than a steel-string. Use cable ties that are as narrow as possible. If needed, trim the tie with scissors, as shown in the photo. To get the cable tie to lie as flat as possible on the fretboard, pre-crimp the cable tie with pliers, as pictured.
[[File:Guitar frets from cable ties original.jpg|none|thumb]]
Various cable-tie sources:
 
* [https://www.gardnerbender.com/en/p/46-206UVB/Cable-Tie-6-inch-30-lb-Black# www.gardnerbender.com/en/p/46-206UVB/Cable-Tie-6-inch-30-lb-Black#] (narrow but short)
* [https://www.doitbest.com/product/500740/do-it-7-in-x-0-189-in-black-molded-nylon-weather-resistant-cable-tie-20-pack-500740/ www.doitbest.com/product/500740/do-it-7-in-x-0-189-in-black-molded-nylon-weather-resistant-cable-tie-20-pack-500740/]
* [https://byjasco.com/power-gear-plastic-cable-ties-8in-100pk-clear-0 byjasco.com/power-gear-plastic-cable-ties-8in-100pk-clear-0] (long and narrow, but can't take much tension)
 
The little box that you feed the end of the cable tie through tends to get in the way of playing. If you never fret with your thumb, you might want to position the boxes along the bass edge of the fretboard. Or you can position them in the middle of the neck (pictured below). After you install a cable tie, clip off the "tail" with a nail clipper, as close to the box as you possibly can. Install the cable tie for the highest fret first. Tighten it around the narrower part of the neck, then push it up to the wider part, using the neck's taper to get an extremely snug fit. To tighten the last few cable ties, grab the tail with needlenose pliers, as close to the box as you can, with the pliers perpendicular to the tail. Then for maximum leverage, tighten using a twisting motion, rotating the pliers along its long axis, as if you were trying to wrap the tail around the needlenose. Finally, you can shove the clipped-off tails from the other frets under those last few cable ties. Once they are all installed, cover the back of the neck with a few layers of painter's tape to make them more comfortable and less likely to slip out of position.
[[File:Cable-tie frets.jpg|left|thumb|340x340px]]
[[File:Cable-tie frets after covering.jpg|none|thumb|335x335px]]


==String Gauges==
==String Gauges==
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!notes
!notes
|-
|-
! rowspan="2" |acoustic guitar
! rowspan="2" | acoustic guitar
|25.5"
|25.5"
|vD
| vD
|12  15  19p/20w  25  32  40  48  59
| 12  15  19p/20w  25  32  40  48  59
|StringJoy
| StringJoy
|Phosphor Bronze
|Phosphor Bronze
|-
|-
| style="text-align:center;" |27"
| style="text-align:center;" |27"
|vD
|vD
|11.5  15  18p  24w  30  36  46  56
| 11.5  15  18p  24w  30  36  46  56
| D'Addario
|D'Addario
|somewhat light
|somewhat light
|-
|-
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|
|
|-
|-
| style="text-align:center;" | 25.5"
| style="text-align:center;" |25.5"
|vD
| vD
|10  11.5  15  19p/20w  26  32  40  50
|10  11.5  15  19p/20w  26  32  40  50
|StringJoy
|StringJoy
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|-
|-
!electric bass
!electric bass
| 34"
|34"
| vD
|vD
|40  55  70  80  95  110/115
|40  55  70  80  95  110/115
|StringJoy
|StringJoy
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|}
|}


== Fretboard placement ==
==Fretboard placement ==


When building a guitar, the bridge is positioned relative to the fretboard. When converting a guitar, it's crucial to place the fretboard accurately relative to the bridge. This process is like saddle compensation, but instead of moving the saddle points back and forth, one moves the entire fretboard back and forth.
When building a guitar, the bridge is positioned relative to the fretboard. When converting a guitar, it's crucial to place the fretboard accurately relative to the bridge. This process is like saddle compensation, but instead of moving the saddle points back and forth, one moves the entire fretboard back and forth.
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Always install at least two frets, because the nut might need compensation (see below), and can't be trusted yet. One might use frets 1 and 13 to get a fifth, or frets 0.5 (the a-fret) and 21 to get an octave. Or one might install 3 or 4 frets, for safety. Check the tuning at all the frets and all the strings, using Method #2 below. Then place the fretboard  
Always install at least two frets, because the nut might need compensation (see below), and can't be trusted yet. One might use frets 1 and 13 to get a fifth, or frets 0.5 (the a-fret) and 21 to get an octave. Or one might install 3 or 4 frets, for safety. Check the tuning at all the frets and all the strings, using Method #2 below. Then place the fretboard  


== Saddle and nut compensation ==
==Saddle and nut compensation ==


Since the Kite guitar is so much more in tune than a 12-equal guitar, extra care should be taken with compensation. On an electric guitar, one can simply dial in the correct saddle compensation. On an acoustic or nylon, one must file the saddle.
Since the Kite guitar is so much more in tune than a 12-equal guitar, extra care should be taken with compensation. On an electric guitar, one can simply dial in the correct saddle compensation. On an acoustic or nylon, one must file the saddle.


=== Short answer ===
===Short answer===
For each string, match the 41st fret harmonic exactly with the fretted note, using a tuner. You can also match the 12th fret harmonic with the 12th fret note, which will be 1 octave lower. (To be precise, the fretted note should be half a cent sharper than the harmonic.) Ideally check at both the 12th and 41st frets, and split the difference to get both as in tune as possible.
For each string, match the 41st fret harmonic exactly with the fretted note, using a tuner. You can also match the 12th fret harmonic with the 12th fret note, which will be 1 octave lower. (To be precise, the fretted note should be half a cent sharper than the harmonic.) Ideally check at both the 12th and 41st frets, and split the difference to get both as in tune as possible.


=== Long answer ===
===Long answer===
'''Method #1:''' To find the saddle compensation on a standard guitar, one compares the harmonic at the 12th fret with the fretted note at the 12th fret. For the Kite guitar, by a weird coincidence, one does the same! But the 12th fret now makes the 3rd harmonic, not the 2nd. Thus the two notes should be an octave apart, not a unison. If using a tuner, this is not a problem. But if using your ear, a unison is easier to hear than an octave. To get a unison, when you fret the string, play the 2nd harmonic with your other hand. With your forefinger or middle finger, touch the string midway between the 32nd and 33rd frets. Then stretch your hand and pluck with your thumb as close as you can get to the midpoint between your finger and the bridge. If this isn't feasible (e.g. with a bass guitar), you can capo the string at the 12th fret and use both hands to play the harmonic. (And to be extremely precise, the fretted note should be 0.48¢ sharper than the harmonic. The 3rd harmonic is 701.96¢ and the 41-equal interval is 702.44¢.)
'''Method #1:''' To find the saddle compensation on a standard guitar, one compares the harmonic at the 12th fret with the fretted note at the 12th fret. For the Kite guitar, by a weird coincidence, one does the same! But the 12th fret now makes the 3rd harmonic, not the 2nd. Thus the two notes should be an octave apart, not a unison. If using a tuner, this is not a problem. But if using your ear, a unison is easier to hear than an octave. To get a unison, when you fret the string, play the 2nd harmonic with your other hand. With your forefinger or middle finger, touch the string midway between the 32nd and 33rd frets. Then stretch your hand and pluck with your thumb as close as you can get to the midpoint between your finger and the bridge. If this isn't feasible (e.g. with a bass guitar), you can capo the string at the 12th fret and use both hands to play the harmonic. (And to be extremely precise, the fretted note should be 0.48¢ sharper than the harmonic. The 3rd harmonic is 701.96¢ and the 41-equal interval is 702.44¢.)


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|26"
|26"
|15.0
|15.0
|655mm
| 655mm
|0.378mm
|0.378mm
|-
|-
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{| class="wikitable"
{| class="wikitable"
|+best frets to check for Kite Guitar intonation setup
|+best frets to check for Kite Guitar intonation setup
! fret
!fret
!interval
! interval
!ratio
!ratio
!harmonic
!harmonic
!fretted note should be
!fretted note should be
! for each cent of sharpness
!for each cent of sharpness
!location to play shared harmonic
!location to play shared harmonic
|-
|-
|12
|12
|5th
|5th
|3/2
| 3/2
| 3rd
| 3rd
|0.5¢ sharp
|0.5¢ sharp
| flatten by two cents
|flatten by two cents
|2/3 of string: between frets 32 and 33
|2/3 of string: between frets 32 and 33
|-
|-
|24
|24
|maj 9th
|maj 9th
|9/4
| 9/4
|9th
|9th
|1¢ sharp
|1¢ sharp
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|37
|37
|vmin 7th
|vmin 7th
|7/2
| 7/2
|7th
| 7th
|3¢ flat
|3¢ flat
|flatten by two-fifths of a cent
|flatten by two-fifths of a cent
| 6/7 of string: past the fretboard up by the bridge
|6/7 of string: past the fretboard up by the bridge
|-
|-
|41
|41
|dbl 8ve
|dbl 8ve
| 4/1
|4/1
|4th
|4th
| the same
|the same
|flatten by one-third of a cent
|flatten by one-third of a cent
|1/4 of string: at the same fret 41
|1/4 of string: at the same fret 41
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{| class="wikitable"
{| class="wikitable"
|+multiplicative factors for various fret distances.
|+multiplicative factors for various fret distances.
!frets
! frets
!factor
!factor
!
!
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!
!
!frets
!frets
!factor
! factor
|-
|-
|10
|10
|2.486
| 2.486
| rowspan="20" |
| rowspan="20" |
|20
|20
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|2.346
|2.346
|20.5
|20.5
|1.000
| 1.000
|30.5
|30.5
|0.554
|0.554
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|21
|21
|0.967
|0.967
|31
| 31
|0.540
|0.540
|41
|41
|0.333
| 0.333
|-
|-
|11.5
|11.5
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|0.513
|0.513
|-
|-
|12.5
| 12.5
|1.901
| 1.901
|22.5
|22.5
|0.877
|0.877
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|1.812
|1.812
|23
|23
|0.850
| 0.850
|33
| 33
|0.487
|0.487
|-
|-
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|14
|14
|1.652
|1.652
|24
| 24
|0.799
|0.799
|34
|34
|0.464
|0.464
|-
|-
|14.5
| 14.5
|1.580
|1.580
|24.5
|24.5
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|0.731
|0.731
|35.5
|35.5
|0.431
| 0.431
|-
|-
|16
|16
Line 691: Line 708:
|0.710
|0.710
|36
|36
|0.421
| 0.421
|-
|-
|16.5
|16.5
|1.339
|1.339
|26.5
|26.5
|0.690
| 0.690
|36.5
|36.5
|0.411
|0.411
|-
|-
|17
| 17
|1.287
|1.287
|27
|27
|0.670
|0.670
|37
| 37
|0.401
|0.401
|-
|-
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|1.193
|1.193
|28
|28
|0.634
| 0.634
|38
|38
|0.383
|0.383
Line 731: Line 748:
|1.110
|1.110
|29
|29
|0.600
| 0.600
|39
| 39
|0.365
|0.365
|-
|-
Line 778: Line 795:
|+distance from center of 1st string to center of Nth string
|+distance from center of 1st string to center of Nth string
!
!
! C2C
!C2C
! E2E
!E2E
! E2NE
!E2NE
! E2NE off-centeredness
!E2NE off-centeredness
|-
|-
!2nd string
!2nd string
| D
|D
|D + R1 + R2
|D + R1 + R2
|D - x + R1
|D - x + R1
| x
|x
|-
|-
! 3rd string
!3rd string
| 2D
|2D
|2D + R1 + 2R2 + R3
|2D + R1 + 2R2 + R3
|2D + R1 + R3
|2D + R1 + R3
Line 797: Line 814:
!4th string
!4th string
|3D
|3D
| 3D + R1 + 2R2 + 2R3 + R4
|3D + R1 + 2R2 + 2R3 + R4
|3D - x + R1 + R2 + R4
| 3D - x + R1 + R2 + R4
|x + (R3-R2) - (R4-R3)
|x + (R3-R2) - (R4-R3)
|-
|-
! 5th string
!5th string
|4D
|4D
|4D + R1 + 2R2 + 2R3 + 2R4 + R5
|4D + R1 + 2R2 + 2R3 + 2R4 + R5
Line 811: Line 828:
|5D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + R6
|5D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + R6
|5D - x + R1 + R2 + 2R4 + R6
|5D - x + R1 + R2 + 2R4 + R6
| x + (R3-R2) - (R4-R3) + (R5-R4) - (R6-R5)
|x + (R3-R2) - (R4-R3) + (R5-R4) - (R6-R5)
|-
|-
!7th string
!7th string
|6D
|6D
|6D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + R7
|6D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + R7
| 6D + R1 + 2R3 + 2R5 + R7
|6D + R1 + 2R3 + 2R5 + R7
| -x - (R3-R2) + (R4-R3) - (R5-R4) + (R6-R5) - (R7-R6)
| -x - (R3-R2) + (R4-R3) - (R5-R4) + (R6-R5) - (R7-R6)
|-
|-
!8th string
!8th string
|7D
|7D
| 7D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + 2R7 + R8
|7D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + 2R7 + R8
|7D - x + R1 + R2 + 2R4 + 2R6 + R8
|7D - x + R1 + R2 + 2R4 + 2R6 + R8
|(N/A)
|(N/A)
Line 836: Line 853:
==Tables==
==Tables==


=== Notes ===
===Notes===
6-string (mid-6), downmajor 3rds tuning
6-string (mid-6), downmajor 3rds tuning
[[File:Kite Guitar Fretboard for a 6-string.png|none|thumb|833x833px]]
[[File:Kite Guitar Fretboard for a 6-string.png|none|thumb|833x833px]]
Line 897: Line 914:
|-
|-
|
|
|2
| 2
|Eb
|Eb
| -12.2
| -12.2
Line 942: Line 959:
!G#
!G#
!-14.6
!-14.6
!C
! C
!-34.1
!-34.1
!Eb
!Eb
Line 957: Line 974:
|-
|-
|
|
| 5
|5
|F
|F
| -36.6
| -36.6
Line 972: Line 989:
|Eb
|Eb
| +46.3
| +46.3
|G
| G
| +26.8
| +26.8
|
|
Line 986: Line 1,003:
|F
|F
| -36.6
| -36.6
|G#
| G#
| +43.9
| +43.9
|C
|C
Line 997: Line 1,014:
|-
|-
|
|
| 7
|7
|F#
| F#
| -19.5
| -19.5
|Bb
|Bb
Line 1,042: Line 1,059:
|B
|B
| -22.0
| -22.0
|Eb
| Eb
| -41.5
| -41.5
|F#
|F#
Line 1,073: Line 1,090:
| +39.0
| +39.0
|Bb
|Bb
| +19.5
| +19.5
|
|
|-
|-
Line 1,083: Line 1,100:
|'''<u>''-4.9''</u>'''
|'''<u>''-4.9''</u>'''
|E
|E
| -24.4
| -24.4
|G#
|G#
| -43.9
| -43.9
| B
|B
| +36.6
| +36.6
|Eb
|Eb
| +17.1
| +17.1
Line 1,093: Line 1,110:
|'''<u>''-2.4''</u>'''
|'''<u>''-2.4''</u>'''
|B
|B
| -22.0
| -22.0
|
|
|-
|-
Line 1,101: Line 1,118:
!-26.8
!-26.8
!C#
!C#
! -46.3
!-46.3
!E
!E
!+34.1
!+34.1
Line 1,111: Line 1,128:
!-24.4
!-24.4
!G#
!G#
! -43.9
!-43.9
!B
!B
!+36.6
!+36.6
Line 1,117: Line 1,134:
|-
|-
|
|
| 13
|13
|A
|A
| +31.7
| +31.7
Line 1,158: Line 1,175:
|
|
|15
|15
|Bb
| Bb
| +48.8
| +48.8
|D
| D
| +29.3
| +29.3
|F#
|F#
Line 1,189: Line 1,206:
!+29.3
!+29.3
!F#
!F#
!+9.8
! +9.8
!Bb
!Bb
!-9.8
!-9.8
!D
!D
!-29.3
! -29.3
!'''*'''
!'''*'''
|-
|-
|
|
| 17
|17
|C
|C
| -34.1
| -34.1
Line 1,212: Line 1,229:
|Bb
|Bb
| +48.8
| +48.8
|D
| D
| +29.3
| +29.3
|
|
|-
|-
|
|
|18
| 18
|C
| C
| +24.4
| +24.4
|'''<u>''E''</u>'''
|'''<u>''E''</u>'''
Line 1,224: Line 1,241:
|G#
|G#
| -14.6
| -14.6
|C
| C
| -34.1
| -34.1
|Eb
|Eb
| +46.3
| +46.3
|G
| G
| +26.8
| +26.8
|'''<u>''B''</u>'''
|'''<u>''B''</u>'''
Line 1,237: Line 1,254:
|-
|-
|
|
| 19
|19
|C#
|C#
| -17.1
| -17.1
Line 1,298: Line 1,315:
|
|
|22
|22
| Eb
|Eb
| -41.5
| -41.5
|F#
|F#
Line 1,312: Line 1,329:
|C#
|C#
| +41.5
| +41.5
|F
| F
| +22.0
| +22.0
|
|
Line 1,323: Line 1,340:
|'''<u>''-2.4''</u>'''
|'''<u>''-2.4''</u>'''
|B
|B
| -22.0
| -22.0
|Eb
|Eb
| -41.5
| -41.5
Line 1,358: Line 1,375:
|
|
|25
|25
| E
|E
| +34.1
| +34.1
|G#
|G#
Line 1,371: Line 1,388:
| +36.6
| +36.6
|Eb
|Eb
| +17.1
| +17.1
|'''<u>''G''</u>'''
|'''<u>''G''</u>'''
|'''<u>''-2.4''</u>'''
|'''<u>''-2.4''</u>'''
Line 1,382: Line 1,399:
|A
|A
| -26.8
| -26.8
|C#
| C#
| -46.3
| -46.3
|E
| E
| +34.1
| +34.1
|G#
| G#
| +14.6
| +14.6
|'''<u>''C''</u>'''
|'''<u>''C''</u>'''
|'''<u>''-4.9''</u>'''
|'''<u>''-4.9''</u>'''
|E
| E
| -24.4
| -24.4
|G#
| G#
| -43.9
| -43.9
|
|
|-
|-
|
|
| 27
|27
|F#
|F#
| -48.8
| -48.8
Line 1,408: Line 1,425:
|A
|A
| -26.8
| -26.8
|C#
| C#
| -46.3
| -46.3
|E
| E
| +34.1
| +34.1
|G#
| G#
| +14.6
| +14.6
|
|
Line 1,428: Line 1,445:
!A
!A
!+31.7
!+31.7
! C#
!C#
!+12.2
!+12.2
!'''<u>''F''</u>'''
!'''<u>''F''</u>'''
Line 1,446: Line 1,463:
|F#
|F#
| +9.8
| +9.8
|Bb
| Bb
| -9.8
| -9.8
|D
|D
Line 1,457: Line 1,474:
|-
|-
|
|
| 30
|30
|G
|G
| +26.8
| +26.8
Line 1,464: Line 1,481:
| Eb
| Eb
| -12.2
| -12.2
|G
| G
| -31.7
| -31.7
|Bb
|Bb
Line 1,557: Line 1,574:
|-
|-
|
|
|35
| 35
|Bb
|Bb
| +19.5
| +19.5
|'''<u>''D''</u>'''
|'''<u>''D''</u>'''
|'''<u>''+0.0''</u>'''
|'''<u>''+0.0''</u>'''
|F#
| F#
| -19.5
| -19.5
|Bb
| Bb
| -39.0
| -39.0
|C#
| C#
| +41.5
| +41.5
|F
|F
| +22.0
| +22.0
Line 1,585: Line 1,602:
!+39.0
!+39.0
!Bb
!Bb
! +19.5
!+19.5
!'''<u>''D''</u>'''
!'''<u>''D''</u>'''
!'''<u>''+0.0''</u>'''
!'''<u>''+0.0''</u>'''
Line 1,611: Line 1,628:
| +39.0
| +39.0
|Bb
|Bb
| +19.5
| +19.5
|'''<u>''D''</u>'''
|'''<u>''D''</u>'''
|'''<u>''+0.0''</u>'''
|'''<u>''+0.0''</u>'''
Line 1,623: Line 1,640:
| -24.4
| -24.4
|G#
|G#
| -43.9
| -43.9
|B
|B
| +36.6
| +36.6
Line 1,637: Line 1,654:
|-
|-
|
|
| 39
|39
|C#
|C#
| -46.3
| -46.3
|E
|E
| +34.1
| +34.1
|G#
|G#
| +14.6
| +14.6
Line 1,648: Line 1,665:
|E
|E
| -24.4
| -24.4
|G#
| G#
| -43.9
| -43.9
|B
|B
Line 1,666: Line 1,683:
!C#
!C#
!-46.3
!-46.3
! E
!E
!+34.1
!+34.1
!G#
!G#
Line 1,679: Line 1,696:
|41
|41
|D
|D
| -29.3
| -29.3
|F#
|F#
| -48.8
| -48.8
|A
| A
| +31.7
| +31.7
|C#
|C#
Line 1,691: Line 1,708:
| -26.8
| -26.8
|C#
|C#
| -46.3
| -46.3
|E
|E
| +34.1
| +34.1
|
|
|}
|}
Line 1,699: Line 1,716:
{| class="wikitable"
{| class="wikitable"
!
!
!C anchor
! C anchor
!G anchor
!G anchor
!D anchor
!D anchor
Line 1,720: Line 1,737:
|C +22¢
|C +22¢
|C +20¢
|C +20¢
!^C
! ^C
|-
|-
!^^C / vDb
!^^C / vDb
|C# -41¢
| C# -41¢
|C# -44¢
|C# -44¢
|C# -46¢
|C# -46¢
Line 1,749: Line 1,766:
|C# +46¢
|C# +46¢
|C# +44¢
|C# +44¢
|C# +41¢
| C# +41¢
|C# +39¢
|C# +39¢
|C# +37¢
|C# +37¢
!^C# / vvD
!^C# / vvD
|-
|-
!vD
! vD
|D -24¢
|D -24¢
|D -27¢
|D -27¢
|D -29¢
|D -29¢
|D -32¢
| D -32¢
|D -34¢
|D -34¢
!vD
!vD
|-
|-
!D
! D
|'''D +5¢'''
|'''D +5¢'''
|'''D +2¢'''
|'''D +2¢'''
Line 1,778: Line 1,795:
!^D
!^D
|-
|-
!^^D / vEb
! ^^D / vEb
|Eb -37¢
|Eb -37¢
|Eb -39¢
|Eb -39¢
Line 1,786: Line 1,803:
!^^D / vEb
!^^D / vEb
|-
|-
!vD# / Eb
! vD# / Eb
|Eb -7¢
| Eb -7¢
|Eb -10¢
|Eb -10¢
|Eb -12¢
|Eb -12¢
Line 1,813: Line 1,830:
|E -20¢
|E -20¢
|E -22¢
|E -22¢
|E -24¢
| E -24¢
|E -27¢
|E -27¢
|E -29¢
|E -29¢
!vE
! vE
|-
|-
!E
!E
Line 1,828: Line 1,845:
!^E
!^E
|E +39¢
|E +39¢
|E +37¢
| E +37¢
|E +34¢
|E +34¢
|E +32¢
|E +32¢
Line 1,842: Line 1,859:
!vF
!vF
|-
|-
!F
! F
|'''F -2¢'''
|'''F -2¢'''
|'''F -5¢'''
|'''F -5¢'''
Line 1,854: Line 1,871:
|F +24¢
|F +24¢
|F +22¢
|F +22¢
|F +20¢
| F +20¢
|F +17¢
|F +17¢
!^F
!^F
|-
|-
!^^F / vGb
! ^^F / vGb
|F# -44¢
|F# -44¢
|F# -46¢
|F# -46¢
Line 1,872: Line 1,889:
|F# -22¢
|F# -22¢
|F# -24¢
|F# -24¢
!vF# / Gb
! vF# / Gb
|-
|-
!#F / ^Gb
!#F / ^Gb
|F# +15¢
| F# +15¢
|F# +12¢
|F# +12¢
|F# +10¢
|F# +10¢
Line 1,908: Line 1,925:
!^G
!^G
|G +32¢
|G +32¢
|G +29¢
| G +29¢
|G +27¢
|G +27¢
|G +24¢
|G +24¢
Line 1,915: Line 1,932:
|-
|-
!^^G / vAb
!^^G / vAb
|G# -39¢
| G# -39¢
|G# -41¢
| G# -41¢
|G# -44¢
| G# -44¢
|G# -46¢
|G# -46¢
|G# -49¢
|G# -49¢
Line 1,930: Line 1,947:
!vG# / Ab
!vG# / Ab
|-
|-
!G# / ^Ab
! G# / ^Ab
|G# +20¢
|G# +20¢
|G# +17¢
|G# +17¢
Line 2,171: Line 2,188:
|303.76395
|303.76395
|607.52791
|607.52791
|1215.0558
| 1215.0558
|2430.1116
|2430.1116
|4860.2232
|4860.2232
Line 2,193: Line 2,210:
|314.21045
|314.21045
|628.42090
|628.42090
|1256.8418
| 1256.8418
|2513.6836
|2513.6836
|5027.3672
|5027.3672
Line 2,204: Line 2,221:
|319.56766
|319.56766
|639.13532
|639.13532
|1278.2706
| 1278.2706
|2556.5413
|2556.5413
|5113.0825
|5113.0825
Line 2,278: Line 2,295:
|44.964337
|44.964337
|89.928675
|89.928675
|179.85735
| 179.85735
|359.71470
|359.71470
|719.42940
|719.42940
Retrieved from "https://en.xen.wiki/w/How_to_make_a_Kite_Guitar"