Kite Guitar: Difference between revisions
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!Cvm | !Cvm | ||
!C2 = G4 | !C2 = G4 | ||
!C^dim | !C^dim or C^o | ||
!Cvdim | !Cvdim or Cvo | ||
|- | |- | ||
!ratio of the 3rd | !ratio of the 3rd | ||
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|2 3 4 . 1 | |2 3 4 . 1 | ||
2 3 4 . 2 (1) | 2 3 4 . 2 (1) | ||
|1 | |1 4 3 . 2 (2) | ||
1 . | 1 3 2 . 1 (1) | ||
|2 4 2 . 1 | |2 4 2 . 1 | ||
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The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord. | The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord. | ||
Adding a major 9th to any of these chords will make a wolf 4th with the 6th. Adding an 11th to either the ^m6 or the vm6 chord won't increase the odd limit above 9. | Adding a major 9th (ratio 9/4) to any of these chords will make a wolf 4th with the 6th. A 9th that is a P4 above the 6th (^M9 or vM9) will clash with the 5th, but can be added if the 5th is omitted. The chord becomes ambiguous. C^6,^9no5 is the same as ^Dv9no3. Cv6,v9no5 is vD^9no3. C^m6,^9no5 and Cvm6,v9no5 both have an awkward interval from the 3rd up to the 9th: a M7 = 40/21, odd-limit 21. | ||
Adding an 11th (ratio 8/3) to either the ^m6 or the vm6 chord won't increase the odd limit above 9. But a Cvm6,11 chord is the same as an Fv9 chord, and every easy fingering puts the F in the bass, so it's hardly a distinct chord. Adding an 11th to a Cv6 chord makes Cv6,11, which is an FvM9 chord. Again, every easy fingering has F in the bass, and Cv6,11 isn't a distinct chord. | |||
{| class="wikitable" | {| class="wikitable" | ||
!chord type | !chord type | ||
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downmajor-6 | downmajor-6 | ||
!upminor-6 | !upminor-6 | ||
(upminor-6 add-11) | |||
!downminor-6 | !downminor-6 | ||
|- | |- | ||
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!Cv6 = vA^m7 | !Cv6 = vA^m7 | ||
!C^m6 = ^Avm7(b5) | !C^m6 = ^Avm7(b5) | ||
(C^m6,11 = F^9) | |||
!Cvm6 = vA^m7(b5) | !Cvm6 = vA^m7(b5) | ||
|- | |- | ||
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|2 1 4 | |2 1 4 | ||
|- | |- | ||
|'''<u>low-6 voicing</u> 6 R 3 5''' | |'''<u>low-6 voicing</u> 6 R 3 5 (11)''' | ||
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|6 4 5 3 | |6 4 5 3 | ||
|5 4 4 3 | |5 4 4 3 | ||
|6 4 3 3 | |6 4 3 3 . (7) | ||
|5 4 2 3 | |5 4 2 3 | ||
|- | |- | ||
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|4 2 3 1 | |4 2 3 1 | ||
|4 2 1 1 | |4 2 1 1 | ||
3 2 1 1 . (4) | |||
|4 3 1 2 | |4 3 1 2 | ||
|- | |- | ||
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|} | |} | ||
11th chords include the vM9,v#11 (4 4 3 3 2 2), vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All but the first of these contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The first chord's v#11th is 45/16, which is equivalent to 14/5, because 41edo tempers out the [[225/224|Ruyoyo]] comma. Thus the chord's intervallic odd limit is only 15. | 11th chords include the vM9,v#11 (frets 4 4 3 3 2 2), vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All but the first of these contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The first chord's v#11th is 45/16, which is equivalent to 14/5, because 41edo tempers out the [[225/224|Ruyoyo]] comma. Thus the chord's intervallic odd limit is only 15. | ||
Another chord with an innate Ruyoyo comma is vM7sus4 (4 6 3 3), in which the vM7 is | Another chord with an innate Ruyoyo comma is vM7sus4 (4 6 3 3), in which the vM7 is a 5/4 above the 5th, making it 15/8. But it's also 7/5 above the 4th, making it 28/15. Yet another is v7(b5) (4 4 1 1), in which the b5 is a 7/5, but also 9/8 above the 3rd (ratio 5/4), making it a 45/32. | ||
== About 41-EDO == | == About 41-EDO == | ||