Kite Guitar: Difference between revisions
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|2 4 2 3 | |2 4 2 3 | ||
|2 4 1 3 | |2 4 1 3 | ||
|(difficult) | | rowspan="2" |(difficult) | ||
|(difficult) | | rowspan="2" |(difficult) | ||
|- | |- | ||
|suggested fingerings | |suggested fingerings | ||
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|1 3 1 2 | |1 3 1 2 | ||
|2 4 1 3 | |2 4 1 3 | ||
|} | |} | ||
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|2 4 3 . 2 (2) | |2 4 3 . 2 (2) | ||
|2 4 2 . 1 | |2 4 2 . 1 | ||
|(difficult) | | rowspan="2" |(difficult) | ||
|(difficult) | | rowspan="2" |(difficult) | ||
|- | |- | ||
|suggested fingerings | |suggested fingerings | ||
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1 3 2 . 1 (1) | 1 3 2 . 1 (1) | ||
|2 4 2 . 1 | |2 4 2 . 1 | ||
|} | |} | ||
The downadd7no5 chord has 5/4 and 16/9. Surprisingly, this chord is also intervallic odd-limit 9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224|Ruyoyo]] comma of only 8¢, 64/45 is equivalent to 10/7. The high-3 voicing inverts this into an even smoother 7/5. Note that adding the 5th would increase the odd-limit to 27. In chord names, alterations are enclosed in parentheses, and additions are set off with a comma (the punctuation mark, not the interval!) In general, the comma is spoken as "add". Thus C-down add-seven is Cv,7 = C vE G Bb. Compare with C down-seven = Cv7 = C vE G vBb. | The downadd7no5 chord has 5/4 and 16/9. Surprisingly, this chord is also intervallic odd-limit 9. The interval from 5/4 up to 16/9 is 64/45. But because 41edo tempers out the [[225/224|Ruyoyo]] comma of only 8¢, 64/45 is equivalent to 10/7. The high-3 voicing inverts this into an even smoother 7/5. Note that adding the 5th would increase the odd-limit to 27. In chord names, alterations are enclosed in parentheses, and additions are set off with a comma (the punctuation mark, not the interval!) In general, the comma is spoken as "add". Thus C-down add-seven is Cv,7 = C vE G Bb. Compare with C down-seven = Cv7 = C vE G vBb. | ||
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The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. Its homonym is the downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. The upflat five is enharmonically equivalent to an aug 4th = 10/7. | The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. Its homonym is the downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. The upflat five is enharmonically equivalent to an aug 4th = 10/7. | ||
All three of these chords can be voiced to contain the chord shape 4 1 1. This 3-note "nugget" is the essence of the Ruyoyo comma: 9/8 + 5/4 = 7/5. By itself, it's the v,7no5 chord in low-7 voicing. The v7(b5) chord also contains the octave inverse of this nugget, 4 4 1. By itself, this inverse nugget makes Cv(b5) (odd-limit 9). This inverse nugget is also found in Cv,b5 (odd-limit 15) | All three of these chords can be voiced to contain the chord shape 4 1 1. This 3-note "nugget" is the essence of the Ruyoyo comma: 9/8 + 5/4 = 7/5. By itself, it's the v,7no5 chord in low-7 voicing. The v7(b5) chord in close voicing (4 4 1 1) also contains the octave inverse of this nugget, 4 4 1. By itself, this inverse nugget makes Cv(b5) (odd-limit 9). This inverse nugget is also found in Cv,b5 (odd-limit 15). This chord is easiest to play in a low-5 voicing. In other voicings, the P5 and b5 are on the same string, and one must play a riff that alternates between the two (indicated as 1/3 in the tab, 1st and 3rd fret). When the added b5 is voiced an 8ve higher, it becomes a v#11, and suggests the vM9,v#11 chord (odd-limit 15). | ||
{| class="wikitable" | {| class="wikitable" | ||
!chord type | !chord type | ||
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|4 . 1 (5) 5 | |4 . 1 (5) 5 | ||
|4 . 1/3 (5) 5 | |4 . 1/3 (5) 5 | ||
| | |4 . 3 3 5 2 (no 9th) | ||
|- | |- | ||
|suggested fingerings | |suggested fingerings | ||
| Line 565: | Line 561: | ||
|3 . 1/2 . 4 | |3 . 1/2 . 4 | ||
2 . 1 (3) 4 | 2 . 1 (3) 4 | ||
| | |3 . 2 2 4 1 | ||
|- | |- | ||
|'''<u>low-5 voicing</u> 5 R 3 7''' | |'''<u>low-5 voicing</u> 5 R 3 7''' | ||
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|- | |- | ||
|frets | |frets | ||
|(N/A) | | rowspan="2" |(N/A) | ||
|(difficult) | | rowspan="2" |(difficult) | ||
|0 4 4 . 1 | |0 4 4 . 1 | ||
|(difficult) | | rowspan="2" |(difficult) | ||
|2 4 4 1 | |2 4 4 1 | ||
| | |2 4 4 . 3 2 2 (7 strings) | ||
|- | |- | ||
|suggested fingerings | |suggested fingerings | ||
|1 3 4 . 2 | |1 3 4 . 2 | ||
|2 3 4 1 | |2 3 4 1 | ||
| | |1 3 4 . 2 1 1 | ||
|- | |- | ||
|'''<u>low-7 voicing</u> 7 R 3''' | |'''<u>low-7 voicing</u> 7 R 3 (7)''' | ||
| colspan="6" | | | colspan="6" | | ||
|- | |- | ||
|frets | |frets | ||
|7 4 4 | |7 4 4 (8) | ||
|(N/A) | | rowspan="2" |(N/A) | ||
|(N/A) | | rowspan="2" |(N/A) | ||
|(N/A) | | rowspan="2" |(N/A) | ||
|(N/A) | | rowspan="2" |(N/A) | ||
|(N/A) | | rowspan="2" |(N/A) | ||
|- | |- | ||
|suggested fingerings | |suggested fingerings | ||
|3 1 1 | |3 1 1 (4) | ||
|} | |} | ||
Other 11th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. | Other 11th chords include vM11 (4 4 3 3 2 0), v11 (4 4 3 1 2 0), and ^m11 (4 3 3 2 2 1). All these chords contain a wolf 11th. Rather than 8/3, the vM11 and v11 chords have 21/8, and the ^m11 chord has 27/10. The mid-11th, ratio 11/4, is also available. However 4:5:6:7:9:11 requires two guitarists. | ||
=== Sixth chords === | === 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 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. The best voicing is high-3-5 (R 6 3 5), but with only 6 strings, it often isn't possible. 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). | 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 (indicated as 3/6 or 3/7 in the tab). 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. The best voicing is high-3-5 (R 6 3 5), but with only 6 strings, it often isn't possible. Other possibilities are high-3-6 (R 5 3 6), high-5 (R 3 6 5 or 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. | The up-6 chord is particularly dissonant, unless voiced as its homonym, the vm7 chord. | ||
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|- | |- | ||
|'''<u>close no-5th voicing</u> R 3 6''' | |'''<u>close no-5th voicing</u> R 3 6''' | ||
| colspan="4" | | |||
|- | |||
|homonyms | |||
|C^6no5 = ^Avm | |C^6no5 = ^Avm | ||
|Cv6no5 = vA^m | |Cv6no5 = vA^m | ||