Kite Guitar translations by Kite Giedraitis: Difference between revisions
→Tetradic Songs: added Pink Panther theme |
|||
| Line 194: | Line 194: | ||
| 6 - - - - - | - - - - - - | 8 - - - - - | 6 - - - - - | | | 6 - - - - - | - - - - - - | 8 - - - - - | 6 - - - - - | | ||
| 6 - - - - - | 6 - - - - - | 6 - - - - - | 6 - - - - - | | | 6 - - - - - | 6 - - - - - | 6 - - - - - | 6 - - - - - | | ||
</tt> | |||
=== Wade In The Water (trad. spiritual) === | === Wade In The Water (trad. spiritual) === | ||
| Line 233: | Line 235: | ||
| - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - | | ||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
</tt> | |||
downminor version: | |||
<tt> | |||
| - - 3 - 3 - - - | - - 3 - - - 3 - | - - 3 - 3 - - - | - - - - - - - - | | | - - 3 - 3 - - - | - - 3 - - - 3 - | - - 3 - 3 - - - | - - - - - - - - | | ||
| - - 5 - 5 - - - | - - 5 - - - 5 - | - - 5 - 5 - 1 - | 5 - 1 - - - - - | | | - - 5 - 5 - - - | - - 5 - - - 5 - | - - 5 - 5 - 1 - | 5 - 1 - - - - - | | ||
| Line 264: | Line 267: | ||
| - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - 4 - - | - - - - - - - - | - - - - - - - - | | ||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
</tt> | |||
=== Simple Twist Of Fate (Bob Dylan) === | === Simple Twist Of Fate (Bob Dylan) === | ||
| Line 323: | Line 326: | ||
2 - - - | - - 14 - | 14 - - 14 | - - 14 - | 2 - - - | - - 14 - | 14 - - 14 | - - 14 - | ||
- - - 0 | - - - - | 15 - - 12 | - - - - | - - - 0 | - - - - | 15 - - 12 | - - - - | ||
</tt> | |||
This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret. | This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret. | ||
<tt> | <tt> | ||
| Line 333: | Line 336: | ||
2 - - - | - - - - | - - - - | - - - - | 2 - - - | - - - - | - - - - | - - - - | ||
- - - 0 | - - - - | 15 - - 12 | - - - - | - - - 0 | - - - - | 15 - - 12 | - - - - | ||
</tt> | |||
The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. <b>Bolded</b> notes are capo'ed open strings: | The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. <b>Bolded</b> notes are capo'ed open strings: | ||
<tt> | <tt> | ||
| Line 1,730: | Line 1,733: | ||
The last chord of the 3rd quarter of the song is the most "away" chord, so it seemed natural to put a subharmonic chord there. The extra dissonance gives the song a little boost. Since I didn't want the tonic to shift, the only other alternatives were ^IIv7 and IIv,7. The only tricky part was how to tune the chord's 6th. Ideally it would be a M7 to match the chord's 3rd, but for playability and to avoid a pitch shift I used a vM7. It makes a wolf 11th with the bass note (21/8 vs. 8/3) and even worse a wolf 6th with the root (27/16 vs 12/7). So perhaps bend it up a bit? | The last chord of the 3rd quarter of the song is the most "away" chord, so it seemed natural to put a subharmonic chord there. The extra dissonance gives the song a little boost. Since I didn't want the tonic to shift, the only other alternatives were ^IIv7 and IIv,7. The only tricky part was how to tune the chord's 6th. Ideally it would be a M7 to match the chord's 3rd, but for playability and to avoid a pitch shift I used a vM7. It makes a wolf 11th with the bass note (21/8 vs. 8/3) and even worse a wolf 6th with the root (27/16 vs 12/7). So perhaps bend it up a bit? | ||
=== The Pink Panther Theme (Henri Mancini) === | |||
Source: https://www.youtube.com/watch?v=th1WRzHfooI | |||
Chords | |||
<tt> | |||
E^m / / / | / / / / (intro) | |||
E^m / / / | / / / / | |||
E^m / / / | / / / / | |||
^Cv7 / / / | / / / / | |||
E^m / / / | / / / / | |||
^Fv7 / / / | / / / / | |||
E^m / / / | / / / / | |||
^Cv7 / / / | / / / / | |||
E^m . . . | ^Cv7 . Bv7 . (break) | |||
E^m / / / | ^Cv7 / / / | |||
E^m / / / | / . . E^mvM7,9 | |||
</tt> | |||
Lead into the chords with a fretwise bass melody: | |||
<tt> | |||
^D vD# ^D# | E... D vvD Db | ^C... ^D vD# ^D# | E... ^D# E ^^E | ^F... | |||
</tt> | |||
But leading into the E^m just before the break, walk up with the entire chord: | |||
<tt> | |||
x x 2 1 1 3 | |||
x x 3 2 2 4 | |||
x x 4 3 3 5 | |||
x x 5 4 4 6 | |||
</tt> | |||
Melody | |||
<tt> | |||
^M7 | P1 vm3 ^m3 | |||
^M7 | P1 vm3 ^m3 vm6 P5 P1 vm3 | |||
~5 | b5--------------------P4 ^m3 P1 ^m7 | |||
P1 | | |||
^M7 | P1 vm3 ^m3 | |||
^M7 | P1 vm3 ^m3 vm6 P5 vm3 P5 | |||
^M7 | vM7-------------------------- | |||
| | |||
^M7 | P1 vm3 ^m3 | |||
^M7 | P1 vm3 ^m3 vm6 P5 P1 vm3 | |||
~5 | b5---------------------P4 ^m3 P1 ^m7 | |||
P1 | | |||
| P8 ^m7 P5 P4 ^m3 | |||
P1 | ~4 P4 ~4 P4 ~4 P4 ~4 P4 | |||
| ^m3 P1 ^m7 P1 P1 | |||
| ^m3 P1 ^m7 P1 P1 | |||
| ^m3 P1 ^m7 P1 P1 | |||
</tt> | |||
== Barbershop tags == | == Barbershop tags == | ||