Kite Guitar translations by Kite Giedraitis: Difference between revisions
→Greensleeves: melody fix and nicer inversion |
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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. | 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. | ||
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 | 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 an ^b3 to a b5, 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. | ||
<tt> | <tt> | ||
| Line 567: | Line 567: | ||
way Iv . 18 . 17 19 19 | way Iv . 18 . 17 19 19 | ||
</tt> | </tt> | ||
== I Hear Numbers (Tall Kite) == | == I Hear Numbers (Tall Kite) == | ||
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An example of minor-key Renaissance music. The 2nd chord in the first two lines, ^bVIIv, is an optional passing chord. The V7 chord is translated as Vv,^7, because Vv7 sounds inappropriate. The chord is voiced 1-5-7-10, and the interval from the 7th up to the 10th is a mid 4th. Somehow 11/8 sounds less out of place than 10/7! The melody uses the ^4th, to match this chord and also the ^bVIIv chord. The plain 4th is only used as part of the IV^m chord. | An example of minor-key Renaissance music. The 2nd chord in the first two lines, ^bVIIv, is an optional passing chord. The V7 chord is translated as Vv,^7, because Vv7 sounds inappropriate. The chord is voiced 1-5-7-10, and the interval from the 7th up to the 10th is a mid 4th. Somehow 11/8 sounds less out of place than 10/7! The melody uses the ^4th, to match this chord and also the ^bVIIv chord. The plain 4th is only used as part of the IV^m chord. | ||
The 3rd note of both the 3rd quarter and the 4th quarter of the song ("Greensleeves '''was'''") is controversial. Some say it's a major 6th, some say minor. In the tabs, both possibilities are shown. | |||
<tt> | <tt> | ||
Ivm | Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv IV^m | Vv / | ||
| | | | | | | | ||
Ivm | Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^7 | I^m / | ||
| | | | | | | | ||
^bIIIv / | ^bVIIv V^m | ^bVIv IV^m | Vv / | ^bIIIv / | ^bVIIv V^m | ^bVIv IV^m | Vv / | ||
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</tt> | </tt> | ||
It's hard to | It's hard to match the usual 12-edo guitar version with just 6 strings. 8 strings is really needed for that. | ||
6-string tab in F minor: | 6-string tab in F minor: | ||
| Line 738: | Line 741: | ||
^bIIIv ^bVIIv V^m | ^bIIIv ^bVIIv V^m | ||
| 4 . . . . . | 4 . . 2 | | 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or the other, | ||
| 5 . . . . . | . . . | | 5 . . . . . | . . . 7* 5 . | 2 . . . . . | . . . . . . | not both | ||
| . . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | | | . . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | | ||
| 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | | 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | ||
| Line 754: | Line 757: | ||
^bIIIv ^bVIIv V^m | ^bIIIv ^bVIIv V^m | ||
| 4 . . . . . | 4 . . | | 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | | ||
| 5 . . . . . | 5 . . 7 | | 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | | ||
| . . . . . . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | | . . . . . . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | ||
| 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | | 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | ||
| Line 816: | Line 819: | ||
^bIIIv ^bVIIv V^m | ^bIIIv ^bVIIv V^m | ||
| 4 . . . . . | 4 . . | | 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or the other, | ||
| 5 . . . . . | 5 . . 7 | | 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | not both | ||
| . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | | . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | ||
| . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | | . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | ||
| Line 836: | Line 839: | ||
^bIIIv ^bVIIv V^m | ^bIIIv ^bVIIv V^m | ||
| 4 . . . . . | 4 . . | | 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | | ||
| 5 . . . . . | 5 . . 7 | | 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | | ||
| . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | | . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | ||
| . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | | . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | ||