Kite Guitar: Difference between revisions

Line 468:

|}

=== Sixth chords ===

Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th. Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. Another voicing is the low-6 aka 3rd inversion (6 R 3 5). But this is the same as the close voicing of the corresponding 7th chord, and again the chord can be mistaken. A ~~good~~ non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. ~~Other possibilities are~~ high-3-5 (R 6 3 5), high-3-6 (R 5 3 6), high-5 (R 3 6 8 5) and high-6 (R 3 5 8 6).

Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th. Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. Another voicing is the low-6 aka 3rd inversion (6 R 3 5). But this is the same as the close voicing of the corresponding 7th chord, and again the chord can be mistaken. A non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. A very good open voicing is high-3-5 (R 6 3 5). However, this voicing is only possible on a 6-string when the root can be played on the lowest string. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 8 5) and high-6 (R 3 5 8 6).

The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.

Line 474:

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.

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. Adding an 11th to a ^M6 chord raises the odd limit to 27. Thus adding an 11th only works well with the ^m6 chord.

{| class="wikitable"

!chord type

Line 582:

|1 3 2 4

|1 3 1 4

|-

|'''<u>high-3-5 voicing</u> R (4) 6 3 5'''

|

|-

|frets

|4 . 7 . 6 4

|4 . 6 . 5 4

|4 (6) 7 . 4 4

|4 . 6 . 3 4

|-

|suggested fingerings

|1 . 4 . 3 2

2 . 4 . 3 1

1 . 4 . 3 1

|1 . 4 . 3 2

1 . 3 . 2 1

1 1 3 . 2 1

|1 (3) 4 . 1 1

1 . 4 3 1 1

|2 . 4 . 1 3

3 . 4 . 1 2

|}

Line 589:

Line 615:

== Translating 12-edo Songs to 41-edo ==

Obviously, the Kite Guitar can do much more than simply play conventional music. But a good starting place is to take what you know and find it on the Kite Guitar. Translating 12-edo music is sometimes problematic but never impossible~~. Quite often the translated version sounds better, because it's so well tuned~~.

Obviously, the Kite Guitar can do much more than simply play conventional music. But a good starting place is to take what you know and find it on the Kite Guitar. Translating 12-edo music is sometimes problematic but never impossible.

One way to translate a conventional song is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use the spiral charts in the previous section.

@@ Line 468: / Line 468: @@
 |}
 === Sixth chords ===
-Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th. Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. Another voicing is the low-6 aka 3rd inversion (6 R 3 5). But this is the same as the close voicing of the corresponding 7th chord, and again the chord can be mistaken. A good non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. Other possibilities are high-3-5 (R 6 3 5), high-3-6 (R 5 3 6), high-5 (R 3 6 8 5) and high-6 (R 3 5 8 6).
+Sixth chords are hard to voice. A close voicing in root position is generally impossible, because the 6th occurs on the same string as the 5th. One solution is to play a riff that alternates between the 5th and the 6th. Another is to omit the 5th, but then the chord can be mistaken for a triad in 1st inversion. Another voicing is the low-6 aka 3rd inversion (6 R 3 5). But this is the same as the close voicing of the corresponding 7th chord, and again the chord can be mistaken. A non-ambiguous voicing is low-5 (5 R 3 6), but it can be a difficult stretch. Also the 9th from the 5th to the 6th is usually not a plain 9th, and can be dissonant. A very good open voicing is high-3-5 (R 6 3 5). However, this voicing is only possible on a 6-string when the root can be played on the lowest string. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 8 5) and high-6 (R 3 5 8 6).
 The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord.
@@ Line 474: / Line 474: @@
 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.
+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. Adding an 11th to a ^M6 chord raises the odd limit to 27. Thus adding an 11th only works well with the ^m6 chord.
 {| class="wikitable"
 !chord type
@@ Line 582: / Line 582: @@
 |1 3 2 4
 |1 3 1 4
+|-
+|'''<u>high-3-5 voicing</u> R (4) 6 3 5'''
+|
+|
+|
+|
+|-
+|frets
+|4 . 7 . 6 4
+|4 . 6 . 5 4
+|4 (6) 7 . 4 4
+|4 . 6 . 3 4
+|-
+|suggested fingerings
+|1 . 4 . 3 2
+. 4 . 3 1
+. 4 . 3 1
+|1 . 4 . 3 2
+. 3 . 2 1
+1 3 . 2 1
+|1 (3) 4 . 1 1
+. 4 3 1 1
+|2 . 4 . 1 3
+. 4 . 1 2
 |}
@@ Line 589: / Line 615: @@
 == Translating 12-edo Songs to 41-edo ==
-Obviously, the Kite Guitar can do much more than simply play conventional music. But a good starting place is to take what you know and find it on the Kite Guitar. Translating 12-edo music is sometimes problematic but never impossible. Quite often the translated version sounds better, because it's so well tuned.
+Obviously, the Kite Guitar can do much more than simply play conventional music. But a good starting place is to take what you know and find it on the Kite Guitar. Translating 12-edo music is sometimes problematic but never impossible.
 One way to translate a conventional song is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use the spiral charts in the previous section.