Kite Guitar: Difference between revisions

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There are many chords to explore, but the obvious place to start is with those of intervallic [[odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the 9/(9:7:6:5:4) pentad. Thus most of these chords can be classified as either harmonic or subharmonic. The only exceptions are the ^m7 and vm7 chords (and their homonyms v6 and ^6), which are classified as stacked chords, because they are formed by stacking complimentary 3rds.

These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. In these tables, the root is always on the 4th fret. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords~~. The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad~~.

These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. In these tables, the root is always on the 4th fret. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.

=== Triads ===

The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad.

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=== Tetrads - Seventh chords ===

It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). Other tetrad voicings are possible; these are just the most convenient ones. With 7 strings, a high-3-5 voicing is possible (R 5 3 7).

It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). Other tetrad voicings are possible; these are just the most convenient ones. With 7 strings, a high-3-7 voicing is possible (R 5 3 7).

Adding major 9th to any of the first 3 tetrads will not raise the odd limit above 9. The up-7 chord is often improved by adding a 9th.

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 There are many chords to explore, but  the obvious place to start is with those of intervallic [[odd-limit]] 9 or less. These chords are mostly subsets of the 4:5:6:7:9 pentad or the 9/(9:7:6:5:4) pentad. Thus most of these chords can be classified as either harmonic or subharmonic. The only exceptions are the ^m7 and vm7 chords (and their homonyms v6 and ^6), which are classified as stacked chords, because they are formed by stacking complimentary 3rds.
-These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. In these tables, the root is always on the 4th fret. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords. The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad.
+These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. In these tables, the root is always on the 4th fret. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.
 === Triads ===
+The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad.
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 !
@@ Line 159: / Line 160: @@
 === Tetrads - Seventh chords ===
-It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). Other tetrad voicings are possible; these are just the most convenient ones. With 7 strings, a high-3-5 voicing is possible (R 5 3 7).
+It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). Other tetrad voicings are possible; these are just the most convenient ones. With 7 strings, a high-3-7 voicing is possible (R 5 3 7).
 Adding major 9th to any of the first 3 tetrads will not raise the odd limit above 9. The up-7 chord is often improved by adding a 9th.