Kite Guitar: Difference between revisions

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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 (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.

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"

!chord type

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|2 4 4 . 3 (2)

|2 4 5 . 2 (2)

|2 4 4 . 1

|2 4 4 . 1 (2)

|2 4 3 . 2 (2)

|2 4 2 . 1

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1 3 4 . 1 (1)

|2 3 4 . 1

2 3 4 . 2 (1)

|1 . 4 3 2 (2)

1 . 4 3 1 (1)

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Line 476:

[[File:41-edo spiral.png|673x673px]]

The same spiral, with notes not intervals:

[[File:41-edo spiral with notes.png|frameless|730x730px]]

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.

@@ Line 210: / Line 210: @@
 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 (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.
+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"
 !chord type
@@ Line 337: / Line 337: @@
 |2 4 4 . 3 (2)
 |2 4 5 . 2 (2)
-|2 4 4 . 1
+|2 4 4 . 1 (2)
 |2 4 3 . 2 (2)
 |2 4 2 . 1
@@ Line 348: / Line 348: @@
 3 4 . 1 (1)
 |2 3 4 . 1
+3 4 . 2 (1)
 |1 . 4 3 2 (2)
 . 4 3 1 (1)
@@ Line 475: / Line 476: @@
 [[File:41-edo spiral.png|673x673px]]
+The same spiral, with notes not intervals:
+[[File:41-edo spiral with notes.png|frameless|730x730px]]
 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.