Kite Guitar: Difference between revisions

Line 5:

In addition, important 7-limit intervals like 7/6, 7/5 and 7/4 are easy to play. This means the Kite guitar can do much more than just play sweet Renaissance music. It can put a whole new spin on jazz, blues and experimental music. The dom7 and dom9 chords are especially calm and relaxed, revealing just how poorly 12-tET tunes these chords. But dissonance is still possible, in fact 41-tET can be far more dissonant than 12-tET. And 41 notes means that the melodic and harmonic vocabulary is greatly expanded, allowing truly unique music that simply isn't possible with 12 notes.

The Kite guitar has almost twice as many frets as a standard guitar Even with these additional frets, the Kite guitar is still quite playable. The interval between open strings is usually a major 3rd, not a 4th. Thus new chord shapes must be learned. However, the Kite guitar is isomorphic, meaning that there are far fewer shapes to learn. (Open tunings, which are non-isomorphic, are also possible.) Tuning in 3rds not 4ths reduces the overall range of the guitar. Thus a 7-string or even an 8-string guitar is desirable.

For more info: http://tallkite.com/misc_files/The%20Kite%20Tuning.pdf

Line 23:

Line 25:

== Chords (major tuning) ==

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.

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. (Some chords fall outside these 3 categories.)

These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily 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. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.

Line 50:

Line 52:

!C^dim

!Cvdim

|-

!ratio of the 3rd

!P4 = 4/3

!^M3 = 9/7

!vM3 = 5/4

!^m3 = 6/5

!vm3 = 7/6

!M2 = 9/8

!^m3 = 6/5

!vm3 = 7/6

|-

!ratio of the 5th

!P5 = 3/2

!d5 = 7/5

|-

|'''close voicing R 3 5 8'''

Line 178:

Line 200:

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). A high-3 low-5 voicing is possible (5 R 7 3). With 7 strings, a high-3-7 voicing is possible (R 5 3 7).

Adding a major 9th to any of the first 4 tetrads sounds good. The up-7 chord is arguably improved by adding a 9th. 9ths are shown in parentheses. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.

Adding a major 9th (ratio 9/4) to any of the first 4 tetrads sounds good. The up-7 chord is arguably improved by adding a 9th. 9ths are shown in parentheses. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.

{| class="wikitable"

!

Line 192:

Line 214:

!CvM7 (CvM9)

!C^7 (C^9)

!Cv7

!Cv7 (Cv9)

!C^m7 = ^Ebv6 (C^m9)

!Cvm7 = vEb^6

!C^m7(b5) = ^Ebvm6

!Cvm7(b5) = vEb^m6

|-

!ratio of the 3rd

!vM3 = 5/4

!^M3 = 9/7

!vM3 = 5/4

!^m3 = 6/5

!vm3 = 7/6

!^m3 = 6/5

!vm3 = 7/6

|-

!ratio of the 5th

!P5 = 3/2

!d5 = 7/5

|-

!ratio of the 7th

!vM7 =15/8

!^m7 = 9/5

!vm7 = 7/4

!^m7 = 9/5

!vm7 = 7/4

!^m7 = 9/5

!vm7 = 7/4

|-

|'''close voicing R 3 5 7 (9)'''

Line 210:

Line 259:

|4 4 3 3 (2)

|4 5 3 2 (2)

|4 4 3 1

|4 4 3 1 (2)

|4 3 3 2 (2)

|4 2 3 1

Line 223:

Line 272:

|3 4 2 1 (1)

|3 4 2 1

4 4 3 1 (2)

|4 2 3 1 (1)

3 2 2 1 (1)

Line 306:

Line 356:

!C^m6 = ^Avm7(b5)

!Cvm6 = vA^m7(b5)

|-

!ratio of the 3rd

!^M3 = 9/7

!vM3 = 5/4

!^m3 = 6/5

!vm3 = 7/6

|-

!ratio of the 5th

!P5 = 3/2

|-

!ratio of the 6th

!^M6 = 12/7

!vM6 = 5/3

!^M6 = 12/7

!vM6 = 5/3

|-

|'''close voicing for riffing R 3 5/6'''

Line 392:

Line 460:

Often there is only one obvious way to translate a song. "La Bamba" is Iv - IVv - Vv7. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.

In general, upperfect and downperfect intervals are to be avoided. Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. Avoid plain major and minor 3rds and 6ths~~. Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The choice of which two chords contain the shift can be tricky~~.

In general, upperfect and downperfect intervals within chords are to be avoided. Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. Avoid plain major and minor 3rds and 6ths.

On a ~~six string guitar, if one wants certain voicings~~ of chords and root movements, the ~~choices of key are limited~~. ~~A seven~~-~~string or even an eight~~-~~string gives much more freedom~~.

Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The two most common commas that cause issues are the [[81/80|Gu]] and [[64/63|Ru]] commas. The choice of which two chords in the pump contain the pitch shift can be tricky. Generally, a root movement by an ^4, v4, ^5 or v5 is avoided. This usually necessitates a root movement by a plain major or minor interval.

For example, the Gu pump might be I - VIm - IIm - V7 - I. Without the pump, I - VIm would be translated as Iv - vVI^m, to avoid shifts. The roots would move by a vM6. With the pump, this might translate to Iv - VI^m - II^m - Vv7 - Iv. The first root movement is by a M6. The tonic and the major 3rd both shift between the I chord and the VI chord. Sometimes an up- or down-perfect root movement is better, see "I Will" below.

Likewise, the Ru pump might be I7 - IV7 - V7 - I7. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I.

One way to hide pitch shifts is to voice the two occurrences of the pitch in different octaves. Another way is to omit the 5th in one of the chords. Thus in the Gu example, the 2nd chord might be VI^mno5.

Line 645:

Line 719:

v7 v6

vb7 vb6

</tt>

=== I Will ===

This song pumps the [[81/80|Gu (Meantone) comma]] very rapidly. Note the ^4 root movement from vD to G. Alternatively, a D root could be used.

<tt>

Fv vD^m7 Gvm7 C7 | Fv vD^m vA^m

|

Fv7 Bbv Cv7 vD^m | Fv Bbv Cv7

|

Fv vD^m7 Gvm7 C7 |

Bbv vA^m vD^m7 / | Gvm7 Cv7 Fv Fv7

|

Bbv vA^m vD^m7 / | Gv7 / Cv7 /

</tt>

@@ Line 5: / Line 5: @@
 In addition, important 7-limit intervals like 7/6, 7/5 and 7/4 are easy to play. This means the Kite guitar can do much more than just play sweet Renaissance music. It can put a whole new spin on jazz, blues and experimental music. The dom7 and dom9 chords are especially calm and relaxed, revealing just how poorly 12-tET tunes these chords. But dissonance is still possible, in fact 41-tET can be far more dissonant than 12-tET. And 41 notes means that the melodic and harmonic vocabulary is greatly expanded, allowing truly unique music that simply isn't possible with 12 notes.
+The Kite guitar has almost twice as many frets as a standard guitar Even with these additional frets, the Kite guitar is still quite playable. The interval between open strings is usually a major 3rd, not a 4th. Thus new chord shapes must be learned. However, the Kite guitar is isomorphic, meaning that there are far fewer shapes to learn. (Open tunings, which are non-isomorphic, are also possible.) Tuning in 3rds not 4ths reduces the overall range of the guitar. Thus a 7-string or even an 8-string guitar is desirable.
 For more info: http://tallkite.com/misc_files/The%20Kite%20Tuning.pdf
@@ Line 23: / Line 25: @@
 == Chords (major tuning) ==
-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.
+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. (Some chords fall outside these 3 categories.)
 These tables list all the 9-odd-limit chords, plus the vM7 tetrad, which is odd limit 15 and stacked. The chord shapes are written in tablature, using fret numbers. The root is placed arbitrarily 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. A skipped string is indicated by a period. Alternate fingerings are possible, especially for 2-finger and 3-finger chords.
@@ Line 50: / Line 52: @@
 !C^dim
 !Cvdim
+|-
+!ratio of the 3rd
+!P4 = 4/3
+!^M3 = 9/7
+!vM3 = 5/4
+!^m3 = 6/5
+!vm3 = 7/6
+!M2 = 9/8
+!^m3 = 6/5
+!vm3 = 7/6
+|-
+!ratio of the 5th
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+!d5 = 7/5
+!d5 = 7/5
 |-
 |'''<u>close voicing</u> R 3 5 8'''
@@ Line 178: / Line 200: @@
 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). A high-3 low-5 voicing is possible (5 R 7 3). With 7 strings, a high-3-7 voicing is possible (R 5 3 7).
-Adding a major 9th to any of the first 4 tetrads sounds good. The up-7 chord is arguably improved by adding a 9th. 9ths are shown in parentheses. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.
+Adding a major 9th (ratio 9/4) to any of the first 4 tetrads sounds good. The up-7 chord is arguably improved by adding a 9th. 9ths are shown in parentheses. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.
 {| class="wikitable"
 !
@@ Line 192: / Line 214: @@
 !CvM7 (CvM9)
 !C^7 (C^9)
-!Cv7
+!Cv7 (Cv9)
 !C^m7 = ^Ebv6 (C^m9)
 !Cvm7 = vEb^6
 !C^m7(b5) = ^Ebvm6
 !Cvm7(b5) = vEb^m6
+|-
+!ratio of the 3rd
+!vM3 = 5/4
+!^M3 = 9/7
+!vM3 = 5/4
+!^m3 = 6/5
+!vm3 = 7/6
+!^m3 = 6/5
+!vm3 = 7/6
+|-
+!ratio of the 5th
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+!d5 = 7/5
+!d5 = 7/5
+|-
+!ratio of the 7th
+!vM7 =15/8
+!^m7 = 9/5
+!vm7 = 7/4
+!^m7 = 9/5
+!vm7 = 7/4
+!^m7 = 9/5
+!vm7 = 7/4
 |-
 |'''<u>close voicing</u> R 3 5 7 (9)'''
@@ Line 210: / Line 259: @@
 |4 4 3 3 (2)
 |4 5 3 2 (2)
-|4 4 3 1
+|4 4 3 1 (2)
 |4 3 3 2 (2)
 |4 2 3 1
@@ Line 223: / Line 272: @@
 |3 4 2 1 (1)
 |3 4 2 1
+4 3 1 (2)
 |4 2 3 1 (1)
 2 2 1 (1)
@@ Line 306: / Line 356: @@
 !C^m6 = ^Avm7(b5)
 !Cvm6 = vA^m7(b5)
+|-
+!ratio of the 3rd
+!^M3 = 9/7
+!vM3 = 5/4
+!^m3 = 6/5
+!vm3 = 7/6
+|-
+!ratio of the 5th
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+!P5 = 3/2
+|-
+!ratio of the 6th
+!^M6 = 12/7
+!vM6 = 5/3
+!^M6 = 12/7
+!vM6 = 5/3
 |-
 |'''<u>close voicing for riffing</u> R 3 5/6'''
@@ Line 392: / Line 460: @@
 Often there is only one obvious way to translate a song. "La Bamba" is Iv - IVv - Vv7. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.
-In general, upperfect and downperfect intervals are to be avoided. Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. Avoid plain major and minor 3rds and 6ths. Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The choice of which two chords contain the shift can be tricky.
+In general, upperfect and downperfect intervals within chords are to be avoided. Downmajor is preferred over upmajor. Upminor is preferred for most folk, but downminor is preferred for most blues. Avoid plain major and minor 3rds and 6ths.
-On a six string guitar, if one wants certain voicings of chords and root movements, the choices of key are limited. A seven-string or even an eight-string gives much more freedom.
+Comma pumps, other than the aforementioned minicommas, cause pitch shifts, or occasionally, a tonic drift. The two most common commas that cause issues are the [[81/80|Gu]] and [[64/63|Ru]] commas. The choice of which two chords in the pump contain the pitch shift can be tricky. Generally, a root movement by an ^4, v4, ^5 or v5 is avoided. This usually necessitates a root movement by a plain major or minor interval.
+For example, the Gu pump might be I - VIm - IIm - V7 - I. Without the pump, I - VIm would be translated as Iv - vVI^m, to avoid shifts. The roots would move by a vM6. With the pump, this might translate to Iv - VI^m - II^m - Vv7 - Iv. The first root movement is by a M6. The tonic and the major 3rd both shift between the I chord and the VI chord. Sometimes an up- or down-perfect root movement is better, see "I Will" below.
+Likewise, the Ru pump might be I7 - IV7 - V7 - I7. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I.
+One way to hide pitch shifts is to voice the two occurrences of the pitch in different octaves. Another way is to omit the 5th in one of the chords. Thus in the Gu example, the 2nd chord might be VI^mno5.
@@ Line 645: / Line 719: @@
                                        v7    v6
                                       vb7   vb6
+</tt>
+=== I Will ===
+This song pumps the [[81/80|Gu (Meantone) comma]] very rapidly. Note the ^4 root movement from vD to G. Alternatively, a D root could be used.
+<tt>
+ Fv     vD^m7    Gvm7    C7     |    Fv     vD^m     vA^m
+                                |
+ Fv7    Bbv      Cv7     vD^m   |    Fv     Bbv      Cv7
+                                |
+ Fv     vD^m7    Gvm7    C7     |
+ Bbv    vA^m    vD^m7    /      |    Gvm7    Cv7     Fv      Fv7
+                                |
+ Bbv    vA^m    vD^m7    /      |    Gv7      /      Cv7      /
 </tt>