Kite Guitar: Difference between revisions

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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"

|+Chords with an innate Ruyoyo comma

!chord type

!downadd7no5

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=== 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 (~~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).

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 (3/6 in the tab indicates alternating between the 3rd and 6th fret). 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.

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!vM6 = 5/3

|-

|'''close voicing for riffing R 3 5/6'''

|'''close voicing for riffing R 3 5/6 (8)'''

| colspan="4" |

|-

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|4 5 3/7

|4 4 3/6

|4 3 3/7

|4 3 3/7 (5)

|4 2 3/6

|-

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|2 3 1/4

|2 1 1/4

|2 1 1/4 (3)

|3 1 2/4

|-

|'''close no-5th voicing R 3 6'''

|'''close no-5th voicing R 3 6 8'''

| colspan="4" |

|-

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|-

|frets

|4 5 7

|4 5 7 5

|4 4 6

|4 4 6 5

|4 3 7

|4 3 7 5

|4 2 6

|4 2 6 5

|-

|suggested fingerings

|1 2 4

|1 2 4 3

|1 1 3

|1 1 3 2

|2 1 4

|2 1 4 3

|2 1 4

|2 1 4 3

|-

|'''low-6 voicing 6 R 3 5 (11)'''

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 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"
+|+Chords with an innate Ruyoyo comma
 !chord type
 !downadd7no5
@@ Line 596: / Line 597: @@
 === 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 (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).
+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 (3/6 in the tab indicates alternating between the 3rd and 6th fret). 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.
@@ Line 644: / Line 645: @@
 !vM6 = 5/3
 |-
-|'''<u>close voicing for riffing</u> R 3 5/6'''
+|'''<u>close voicing for riffing</u> R 3 5/6 (8)'''
 | colspan="4" |
 |-
@@ Line 650: / Line 651: @@
 |4 5 3/7
 |4 4 3/6
-|4 3 3/7
+|4 3 3/7 (5)
 |4 2 3/6
 |-
@@ Line 656: / Line 657: @@
 |2 3 1/4
 |2 3 1/4
-|2 1 1/4
+|2 1 1/4 (3)
 |3 1 2/4
 |-
-|'''<u>close no-5th voicing</u> R 3 6'''
+|'''<u>close no-5th voicing</u> R 3 6 8'''
 | colspan="4" |
 |-
@@ Line 669: / Line 670: @@
 |-
 |frets
-|4 5 7
+|4 5 7 5
-|4 4 6
+|4 4 6 5
-|4 3 7
+|4 3 7 5
-|4 2 6
+|4 2 6 5
 |-
 |suggested fingerings
-|1 2 4
+|1 2 4 3
-|1 1 3
+|1 1 3 2
-|2 1 4
+|2 1 4 3
-|2 1 4
+|2 1 4 3
 |-
 |'''<u>low-6 voicing</u> 6 R 3 5 (11)'''