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| Line 6: |
Line 6: |
| 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. | | 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. | | 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 chord shapes can be moved not only from fret to fret but also from string to string. Thus 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 | | For more info: http://tallkite.com/misc_files/The%20Kite%20Tuning.pdf |
| Line 488: |
Line 488: |
| 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. | | 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. |
|
| |
|
| | Actual song translations are on separate pages, grouped by translator. if you have any translations, feel free to add your own page! |
|
| |
|
| === Stormy Monday === | | === Kite Giedraitis's Translations to the Kite Guitar === |
| This song showcases the 4:5:6:7 tetrad as the main chord for the blues.
| |
| <tt>
| |
| Gv7 D^m vE^m Dvm Gv9 | Cv7 G^m vA^m Gvm Cv9
| |
| |
| |
| Gv7 / ^Abv7 / | Gv7 / / /
| |
| |
| |
| Cv7 G^m vA^m Gvm Cv9 | Cv7 / / /
| |
| |
| |
| Gv7 / vA^m7 / | vB^m7 / vBb^m7 /
| |
| |
| |
| vA^m7 / / / | C^m7 / / /
| |
| |
| |
| Gv7 / Cv7 / | Gv7 / Dvaug /
| |
| </tt>
| |
|
| |
|
| Chords for 6-string guitar (actual key is closer to A than G)
| | Song are here |
| <tt>
| |
| Gv7 6 . 5 3 7 .
| |
|
| |
| D^m . . 5 4 4 . fingering is 3 2 2
| |
|
| |
| vE^m . . 8 7 7 . slide into this chord from the previous D^m
| |
|
| |
| Dvm . . 5 3 4 . actually the top part of a Gv9 chord, fingering is 3 1 2
| |
|
| |
| Gv9 6 . 5 3 4 . actually a Gv9no3, fingering is 4 . 3 1 2
| |
|
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| Cv7 . 8 8 7 5 .
| |
|
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| G^m . . . 7 6 6 fingering is 3 2 2
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|
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| vA^m . . . 10 9 9 slide into this chord from the previous G^m
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|
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| Gvm . . . 7 5 6 fingering is 3 1 2
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|
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| Cv9 . 8 . 7 5 6 fingering is 4 . 3 1 2
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|
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| ^Abv7 8 . 7 5 9 .
| |
|
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| vA^m7 9 . 8 7 9 .
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|
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| vB^m7 . 6 . 5 4 6
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|
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| vBb^m7 . 4 . 3 2 4
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|
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| C^m7 . 8 7 7 6 . some people play a different chord here
| |
|
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| Dvaug . . 5 5 6 6 could be translated as Dv(^^5) which is . . 5 5 5 6
| |
| </tt>
| |
|
| |
|
| | ==== Stormy Monday ==== |
|
| |
|
| === I Will Survive === | | ==== I Will Survive ==== |
| This song pumps the [[5120/5103|Saruyo]] comma, which equates 21/20 to 256/243. As a result, several pitches shift a comma flat during the progression, but then shift back to where they started. On the Kite guitar, the chord progression walks up the neck and then leaps down 12 frets, only to walk up back to where it started.
| |
|
| |
|
| <tt>
| | ==== Manhattan Island Serenade (Leon Russell) ==== |
| I^m7 IV^m7 bVIIv7 bIIIvM7
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|
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| bVIvM7 IIvm7(b5) Vsus4 Vv7
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| </tt>
| |
|
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|
| Chords for a 6-string guitar in the key of vD upminor:
| | ==== Girl From Ipanema ==== |
| <tt>
| |
| I^m7 . 8 . 7 6 8
| |
|
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| IV^m7 . . 10 9 9 8
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| bVIIv7 11 . 10 8 12 .
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| bIIIvM7 . 13 13 12 12 .
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|
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| bVIvM7 . 1 1 0 0 2 possible fingering . 1 2 . . 3
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|
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| IIvm7(b5) . . 5 3 2 2 a down-halfdim chord
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| Vsus4 6 . 5 7 9 .
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| Vv7 6 . 5 3 7 .
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|
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| </tt>
| |
|
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|
| Chords for 6-string guitar in the key of Bb upminor:
| | ==== I Will ==== |
| <tt>
| |
| I^m7 8 . 7 6 8 .
| |
|
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| IV^m7 . 10 . 9 8 10
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|
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| bVIIv7 . . 12 12 11 9
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|
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| bIIIvM7 13 . 12 12 14 .
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|
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| bVIvM7 1 . 0 0 2 1 possible fingering 1 . . . 3 2
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|
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| IIvm7(b5) . 5 3 2 2 . a down-halfdim chord
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| Vsus4 . . 7 9 6 8
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| Vv7 . . 7 7 6 4
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|
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| </tt>
| |
|
| |
|
| | ==== Kusuva Musha (mbira) ==== |
|
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|
| === Manhattan Island Serenade (Leon Russell) === | | ==== My old Kentucky Home (barbershop tag) ==== |
| This particular translation adds 7ths to all the chords and features ^7 and ^9 chords resolving to ^m7 and v7 chords. The key is upminor, even though downminor is usually better than upminor for bluesy songs. But this song modulates to the relative major, and starting in downminor would lead to a dissonant upmajor key.
| |
| <tt>
| |
| E^m7 / A^m7 / | B4 B^7 E^m7 /
| |
| |
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| ^Cv7 / ^Gv7 / | ^Cv7 / ^Gv7 B4 B^7
| |
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| E^m7 / A^m7 / | B4 B^7 E^m7 /
| |
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| ^Cv7 / ^Gv7 / | ^Cv7 / B4 B^7
| |
| |
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| ^Gv7 ^Dv7 E^m7 ^Gv7 | ^Cv7 B^7 A^9 ^Cv7
| |
| |
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| ^Gv7 B^7 E^m7 ^Gv7 | ^Cv7 / ^Gv7 B^7
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|
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|
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| E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda)
| |
| </tt>
| |
|
| |
|
| Chords for six-string guitar in the key of Bb:
| | ==== I Hear Numbers (Tall Kite) ==== |
| <tt>
| |
| I^m7 7 . . 5 7 7 high-3-5 voicing, fingering is 2 1 3 4
| |
|
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| IV^m7 . 9 . 8 7 9
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|
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| V4 . . 6 8 5 7 fingering is 2 4 1 3
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|
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| V^7 . . 6 7 5 4 fingering is 3 4 2 1, unfortunately an awkward shift from V4
| |
|
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| ^bVIv7 . . 8 8 7 5 could instead use a low-5 voicing
| |
|
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| ^bIII . 6 . 5 3 7
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|
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| ^bVII 4 . 3 1 5 .
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|
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| IV^9 . 9 10 8 7 7
| |
| </tt>
| |
|
| |
|
| | ==== Hotel California ==== |
|
| |
|
| === Girl From Ipanema === | | ==== Stairway To Heaven intro ==== |
| The famous melody is not written out, but for each chord, each note (i. e. pitch) of the melody is written once only. For example, the "Tall and tan and young and lovely" line has the melody 9 7 7 6 9 7 7 7, but only the notes 9 7 and 6 are shown. The melody notes are shown in 3 ways: a (string, fret) format that shows where it's played on guitar, the note's interval from the tonic, and the note's interval from the current chord's root.
| |
| | |
| The A part has an 81/80 comma issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. If a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.
| |
| | |
| In the B part, this translation has the song pumping the [[32805/32768|Layo]] comma, causing it to travel around the fingerboard quite a bit. The melody strays quite far from the original key, using e.g. ^5 and ^8. These notes seem far less offensive in the B part than in the A part, because there is no I chord in the entire B part.
| |
| | |
| The harmonies are translated as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is B, which is far from the original key of F. That key was chosen so that the first #11 chord could take advantage of an open string. Unfortunately, the 2nd #11 chord can't do that, so a dom7addb5 chord is used instead.
| |
| | |
| In the two #11 chords near the end, the #11 could have been translated as 11/4, a ~11. But arguably the reason the 9th is flat is to justify/reinforce the #11. In 12-edo, the b9 along with the b7 and #11 create a harmonious 1st inversion major triad. In 41-edo, since the b7 is 7/4, the b9 must be 21/10 and the #11 must be 14/5. To make this upper structure clearer, in the chord name the 11th is called a b12, not a v#11.
| |
| | |
| <tt>
| |
| IvM9 / IIv6 / | vII^m7 #Iv7(b5) IvM7 #Iv7(b5)
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| #IvM7 / #IVv7 / | #I^m9 / ^VIv7 /
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| ^II^m9 / ~VIIv7 / | III^m7 VIv7b9b12 II^m7 Vv7b9b12
| |
| </tt>
| |
| | |
| Chords for 6-string guitar:
| |
| <tt>
| |
| ----------CHORDS------------- -----MELODY NOTES-------------- --------REMARKS----------------------------
| |
|
| |
| IvM9 9 9 8 8 7 . (2,7) (3,8) (3,5) (on guitar) If the melody is played/sung by another,
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| 3 4 2 2 1 9 v7 6 (from tonic) the 9th is supplied by the melody,
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| 9 v7 6 (from root) and this chord could be a vM7 chord instead.
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|
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| IIv6 . 6 6 8 7 . (2,7) (3,8) (3,5)
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| 1 1 3 2 9 v7 6
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| 8 v6 5
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|
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| vII^m7 12 11 11 10 . . (3,10) (4,11) (4,8) Could have been an ^m9 chord.
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| 4 2 3 1 8 v6 5 Could also have been a II^m7 chord, see above.
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| ^b7 5 ^4
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|
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| #Iv7(b5) 11 11 8 8 . . (3,8) (4,8) (5,11) Could be called an ^bII chord.
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| 3 4 1 1 v7 5 4
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| vb7 b5 v3
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|
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| IvM7 9 9 8 8 . . (4,8) The fingering is chosen to easily slide into
| |
| 3 4 1 1 5 the next chord.
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| 5
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| #Iv7(b5) 11 11 8 8 . .
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| 3 4 1 1
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| #IvM7 11 11 10 10 . . (3,10) (3,12) (4,13) Could have been an ^m9 chord.
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| 3 4 1 1 8 ^b9 b7 Could be called an ^bII chord.
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| v7 8 v6
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|
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| #IVv9no5 . 13 13 . 10 11 (4,10) (4,13) If the melody supplies the 9th, could be a v7 chord.
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| 3 4 1 2 ^b6 b7
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| 9 v10
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|
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| #I^m9 11 10 10 9 9 . (2,9) (2,1) (3,12) If the melody supplies the 9th, could be a ^m7 chord.
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| 4 3 2 2 1 ^b10 ^10 #8 The ^b10 from the tonic can be thought of as a #9.
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| 9 ^b10 8
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|
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| ^VIv7 . 10 12 12 . 9 (3,9) (3,12) Should be a v9 chord, but not enough strings.
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| 2 3 4 1 ^7 #8 Could start with a v7sus2 chord . 10 12 9 . 9 = 2 3 1 1
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| 9 v10 then end the bar with the v7 chord shown here.
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|
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| ^II^m9 13 12 12 11 11 . (2,11) (2,13) (3,14) If the melody supplies the 9th, could be a ^m7 chord.
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| 4 2 3 1 1 ^10 ~11 ^9
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| 9 ^b10 8
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|
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| ~VIIv7 . 12 14 14 . 11 (3,11) (3,14) (2,11) (2,13) Again, should really be a v9 chord.
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| 2 3 4 1 ^^8 ^9 ^10 ~11 Again, could start with a v7sus2 chord and end with a v7.
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| 9 v10 b12 12
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|
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| III^m7 . . 3 2 2 1 (2,16)(3,2)(3,5)(2,2)(2,4)(1,1)
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| 4 2 3 1 ^12 ^5 6 7 ^8 ^9
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| ^b10 ^b3 4 5 v6 ^b7
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|
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| VIv7b9b12no3 4 . 3 1 0 2 (1,2) (1,4) Could instead be a v7b9b12no5 chord, 4 4 . 1 0 2
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| 4 3 1 2 b10 10 If the melody supplies the b12th, could be a v7b9 chord,
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| b12 12 played as 4 4 3 1 0 .
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|
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| II^m7 . 6 5 5 4 . (1,6)(4,5)(4,8)(3,5)(3,8)(2,4) (3,8) could be (2,2) = 7 = 6, or even (3,9) = ^7 = ^6
| |
| 4 2 3 1 ^11 ^4 5 6 v7 ^8
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| ^b10 ^b3 4 5 v6 ^b7
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|
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| Vv7b5 . 6 8 8 5 5 (2,5) Should be a v7b9b12 chord, not enough strings or fingers!
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| 2 3 4 1 1 b9 (Vv7b5 means add a flat 5, Vv7(b5) means flatten the 5.)
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| b5
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|
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|
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| vII^m9 (2,10) (3,10) (4,11) Ending melody: "When she passes I"
| |
| v10 8 v6 If the melody supplies the 9th, could be a ^m7 chord.
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| 9 ^b7 5
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|
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| #Iv7(b5) (1,9) (3,8) (4,11) "smile, but she doesn't"
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| 12 v7 v6
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| b12 vb7 vb6
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|
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| IvM7 (3,8) "see"
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| v7
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| v7
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|
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| #Iv7(b5) (3,8) (4,1) "She just doesn't"
| |
| v7 v6
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| vb7 vb6
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| </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
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| Fv7 Bbv Cv7 vD^m | Fv Bbv Cv7
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| Fv vD^m7 Gvm7 C7 |
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|
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|
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| Bbv vA^m vD^m7 / | Gvm7 Cv7 Fv Fv7
| |
| |
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| Bbv vA^m vD^m7 / | Gv7 / Cv7 /
| |
| </tt>
| |
| | |
| | |
| === Kusuva Musha (mbira) ===
| |
| | |
| Kite's arrangement of a traditional mbira dzavadzimu song. Simple 5-limit harmonies, except for the 10/7 in the vB chord. But tricky circular rhythms with lots of 3-against-4. The harmonies are circular too. The key is simultaneously C downmajor down-2 and F downlydian down-4. (As with chords, the "down" before the mode name lowers the 3rd, 6th and 7th, but not the tonic, 2nd, 4th or 5th.) The guitar part is a 3-voice canon, with the 3 voices separated by diatonic 3rds. The highest voice is on the beat, as is the bass.
| |
| | |
| https://soundcloud.com/mbirakite/kusuva-musha-canon-guitar-version
| |
| | |
| Tablature in C (or F) for 6-string guitar:
| |
| <tt>
| |
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| |
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
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| - - - - - - | - - - - - - | - - - - 6 - | - 4 - - 6 -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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|
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | - - 3 - - - | - - - - - - | - - 3 - - -
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| - - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3
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| - - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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|
| |
| / Cv vE^m vA^m Cv Fv vA^m vD^m
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| | - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| | 5 - - 3 - - | 5 - - - - - | 5 - - 5 - - | 5 - - - - -
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| | - - 3 - 3 - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
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| | - - - - - - | - 4 - - 4 - | - - - - 6 - | - 4 - - 6 -
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| | - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| | - - - - - - | - - - - - - | - - - - - - | - - - - - -
| |
| \
| |
| Fv vB5(^b5) vD^m Gvno5 vB5(^b5) Cv \
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| - - - - - - | - - - - - - | - - - - - - | - - - - - - |
| |
| 8 - - 5 - - | 3 - 3 - - - | 8 - - 3 - - | 3 - 3 - - - |
| |
| - - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3 |
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| - - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 - |
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| - - - - - - | - - - - - - | - - - - - - | - - - - - - |
| |
| - - - - - - | - - - - - - | - - - - - - | - - - - - - |
| |
| /
| |
| </tt>
| |
| | |
| Tablature in C (or F) for 4-string bass guitar, tuned one octave below strings 3-6 of the guitar:
| |
| <tt>
| |
| F vA F
| |
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| |
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| |
| - - - - - - | - - - - - - | - - - - - - | 19 - - - - -
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| - - - - - - | - - - - - - | - - - 19 - - | - - - 19 - -
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|
| |
| vA F vB F vA G vB G
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | 16 - - - - - | - - - - - - | 16 - - - - -
| |
| 19 - - - - - | - - - - - - | 19 - - 16 - - | - - - 16 - -
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| - - - 19 - - | - - - 19 - - | - - - - - - | - - - - - -
| |
|
| |
| / C vE vA G C F vA F
| |
| | - - - - - - | - - - - - - | - - - - - - | - - - - - -
| |
| | 18 - - - - - | - - - - - - | 18 - - - - - | - - - - - -
| |
| | - - - - - - | 19 - - 16 - - | - - - - - - | 19 - - - - -
| |
| | - - - 17 - - | - - - - - - | - - - 19 - - | - - - 19 - -
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| \
| |
| vA F vB F vA G vB G \
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| - - - - - - | - - - - - - | - - - - - - | - - - - - - |
| |
| - - - - - - | 16 - - - - - | - - - - - - | 16 - - - - - |
| |
| 19 - - - - - | - - - - - - | 19 - - 16 - - | - - - 16 - - |
| |
| - - - 19 - - | - - - 19 - - | - - - - - - | - - - - - - |
| |
| /
| |
| </tt>
| |
| | |
| Tablature in vE (or vA) for 6-string guitar, combining both parts:
| |
| <tt>
| |
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| |
| - - - - - - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
| |
| - - - - - - | - - - - - - | - - - - 6 - | - 4 - - 6 -
| |
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| |
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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|
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| - - - - - - | - - 3 - - - | - - - - - - | - - 3 - - -
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| - - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3
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| - - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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|
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| 5 - - 3 - - | 5 - - - - - | 5 - - 5 - - | 5 - - - - -
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| - - 3 - 3 - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
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| - - - - - - | - 4 - - 4 - | - - - - 6 - | - 4 - - 6 -
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| - - - - - - | - - - - - - | - - - - - - | - - - - - -
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| - - - - - - | - - - - - - | - - - - - - | 5 - - - - -
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| - - - - - - | - - - - - - | - - - 5 - - | - - - 5 - -
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|
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| 8 - - 5 - - | 3 - 3 - - - | 8 - - 3 - - | 3 - 3 - - -
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| - - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3
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| - - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 -
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| - - - - - - | 2 - - - - - | - - - - - - | 2 - - - - -
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| 5 - - - - - | - - - - - - | 5 - - 2 - - | - - - 2 - -
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| - - - 5 - - | - - - 5 - - | - - - - - - | - - - - - -
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|
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| / Iv vIII^m vVI^m Iv IVv vVI^m vII^m
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| | 5 - - 3 - - | 5 - - - - - | 5 - - 5 - - | 5 - - - - -
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| | - - 3 - 3 - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
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| | - - - - - - | - 4 - - 4 - | - - - - 6 - | - 4 - - 6 -
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| | 4 - - - - - | - - - - - - | 4 - - - - - | - - - - - -
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| | - - - - - - | 5 - - 2 - - | - - - - - - | 5 - - - - -
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| | - - - 3 - - | - - - - - - | - - - 5 - - | - - - 5 - -
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| \
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| IVv vVII5(^b5) vD^m Vvno1 vVII5(^b5) Iv \
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| 8 - - 5 - - | 3 - 3 - - - | 8 - - 3 - - | 3 - 3 - - - |
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| - - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3 |
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| - - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 - |
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| - - - - - - | 2 - - - - - | - - - - - - | 2 - - - - - |
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| 5 - - - - - | - - - - - - | 5 - - 2 - - | - - - 2 - - |
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| - - - 5 - - | - - - 5 - - | - - - - - - | - - - - - - |
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| /
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| </tt>
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| === My old Kentucky Home (barbershop tag) ===
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| Accompianing a barbershop quartet with the Kite guitar is fairly easy, and highly recommended! However playing a tag note for note is often impossible, because tags often use a 3-5-7-8 chord voicing. This tag is an exception, except for the 2nd-to-last chord. Translation by Aaron Wolf.
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| Vocal rendition, individual vocal tracks, sheet music, and videos: https://www.barbershoptags.com/tag-82-My-Old-Kentucky-Home In this version, the baritone's first "way" has been changed from Ab to Cb, to avoid an 8ve with the tenor, and to provide the chord with a 7th. In 41edo, this Cb is the same note as the baritone's "home" note, just spelled differently.
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| <tt>
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| For my old Ken-tuck-y home, far a-way, far a-way
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| tenor: v6 b6 5 v3 v6 v5 v8 9 9 ^b10 v9 v9 v10
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| lead: 1 2 v3 1 4 3 6 v7 v7 8 --------->
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| baritone: 1 5 1 v#1 v#4 v4 v4 b5 4 4 5 (the baritone's "Ken" note is a low note a 4th below the 1)
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| bass: 1 1 4 6 9 5 5 ^b6 b7 b7 8 (the 1 of the bass is an 8ve lower than the 1 of the other voices)
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| </tt>
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| Chords for 6-string guitar in G#:
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| <tt>
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| For IVvno1 . 18 . 20 . .
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|
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| my II5(b5) . . 11 . 8 .
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|
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| old Iv 4 . . 5 5 4
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|
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| Ken- Iv 4 . 3 5 5 .
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|
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| tuck- IVv . 6 . 5 7 7
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|
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| y VIv7 . 13 13 12 10 .
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|
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| home IIv7 . . 15 15 14 12
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|
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| far a- Vv7 16 . . 13 17 16 fingering: 2 . . 1 4 3
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|
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| way ^bVIv7 18 . . 15 19 18 "
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|
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| far a- bVIIv,9 21 . 20 . 19 . alternate (2,19) with (2,22)
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|
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| way Iv . 18 . 17 19 19
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| </tt>
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| === I Hear Numbers (Tall Kite) ===
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| Based on the keyboard part, not the electric guitar part.
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| Full song: http://tallkite.com/music/IHearNumbers.mp3
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|
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| Keyboard part with a guitar sound: http://tallkite.com/music/IHearNumbersKeyboardOnGuitar.mp3
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| Liner notes: http://tallkite.com/music/IHearNumbers.html
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| Chords:
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| <tt>
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| intro: Vv7 vIII^m7(b5) Vv7 vIII^m7(b5)
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| Vv7 vIII^m7(b5) Vv7 /
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|
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| solos: Iv7 vbIII^m6 IVv7 /
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| Iv7 vbIII^m6 IVv7 /
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| bVIIv7 bVIIv7no1 vbIII^m6 /
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| vbVI^ vbVI^7 Vv7 /
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|
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| verse 1: Iv7 vbVII^m6 Iv7 vbVII^m6
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| Iv7 vbVII^m6 Iv7 vbVII^m6
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| Iv7 vbVII^m6 Iv7 vbVII^m6
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| Iv7 vbVII^m6 Iv7 /
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|
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| chorus: vVI^m7 / vVII^m6(b5) /
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| / / vVI^m7 /
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| / / vVII^m6(b5) /
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| vVI^7 vVI^m6(b5) Vv7 /
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|
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| breakdown: Iv7 vbVII^m6 bVv7 [vbbVII=^#V]^m6
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| ^#IIv7 #IV^m6 ^VIv7 Vv7
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|
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| verse 2: Iv7 vbVII^m6 Iv7 vbVII^m6
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| Iv7 vbVII^m6 Iv7 IIv7
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|
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| bridge: Vv7 Vvm7(b5) IIv7 /
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| / IIvm7(b5) Vv7 VIvm7
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| IIIv7 IIIvm7(b5) VIv7,b9 VIv6
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| / VIvm7(b5) IIv7 Vv7
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|
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| coda: Iv7 / vbVII^m7 /
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| vbIII^7 / Vv7 /
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| </tt>
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| Guitar tab coming soon! :)
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| === Hotel California ===
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| The song doesn't pump any commas, because there are no common notes between the last few chords. There are two approaches to translating the verse. One way avoids pitch shifts between adjacent chords:
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| <tt>
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| I^m Vv ^bVIIv ^IVv
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|
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| ^^bVIv ^^bIIIv ^IV^m Vv7
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| </tt>
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| This arrangement travels down the neck, only to rapidly climb back up in the last two measures. The melody strays from the key.
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| Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords:
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| <tt>
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| I^m Vv bVIIv IVv
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|
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| ^bVIv ^bIIIv IV^m Vv7
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| </tt>
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| The chorus is straightforward:
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| <tt>
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| ^bVIv ^bIIIv Vv7 I^m
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|
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| ^bVIv ^bIIIv IV^m Vv7
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| </tt>
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| === Stairway To Heaven intro === | |
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| This piece is harmonically quite simple, entirely 5-limit. Included because it's the classic guitar show-off piece! This translation is note for note, except the voicing of the final ^bVIIv chord is changed from 1 8 10 15 to 8 10 12 15. No comma issues, except for the ^bVIIv - IV4 chord change. The IV4 chord is very brief, so the ^b7 to b7 pitch shift isn't too problematic. Or perhaps bend the b7 up half a fret or so, to match the previous ^b7, makes the chord be IV(^4).
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| Tablature in ^A for 6-string guitar, h = hammer on, p = pull off
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| <tt>
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| I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m
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| - - - - 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - -
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| - - - 21 - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - -
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| - - 19 - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - -
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| - 19 - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - 7* 5
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| 20 - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - -
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| - - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - 6 - -
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| *slide up to this note
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|
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| I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m
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| - - - 6 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - -
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| - - 6 - - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - -
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| - 7 - - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - -
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| - - - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - - -
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| - - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - 3
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| 6 - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - - 6 -
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|
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|
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| ^bIIIv IVv ^bVIvM7 I^m ^bIIIv ^bVIIv IV4 IVv
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| - - - - 9 - - 9 6 - - 6 - - - - - - - - - - - - 11* 9 9 - - - - -
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| - - - 6 - 9 - - - 6 - - 4h6- - - 6 - - 6 18 - - 18 9 9 9 - - - - -
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| - - 4 - - - 7 - - - 7 - - 7 - - - 4 - - - 16 - - 7 7 7 - - - - -
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| - 5 - - - - - - 7 - - - - - - - - - 5 - - - 17 - - - - - - - - -
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| 5 - - - 8 - - - - - - - - - - 3 5 - - - 17 - - - 8 - 8 - - - - 3
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| - - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - 6 -
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| *11p9 (pull-off)
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|
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| ^bIIIv IVv ^bVIvM7 I^m ^bIIIv IVv ^bVIvM7
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| - - - - 9 - - 9 6 - - 6 - - - - - - - - - - - 9 6 6 6 - - - - -
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| - - - 6 - 9 - - - 6 - - 4h6- - - - - - 6 - - 9 - 6 6 6 - - - - -
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| - - 4 - - - 7 - - - 7 - - 7 - - - - 4 - - 7 - - 7 7 7 - - - - -
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| - 5 - - - - - - 7 - - - - - - - - 5 - - - - - - 7 7 7 - - - - -
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| 5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - -
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| - - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - -
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| </tt>
| |