Kite Guitar: Difference between revisions

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=== Triads ===

Other voicings are possible; these are just the most convenient ones~~. The alternate names for the voicings are explained in the next section~~. The upmajor chord is a particularly dissonant triad. See "Innate-comma chords" below for augmented triads.

The alternate names for the voicings are explained in the next section. Other voicings are possible; these are just the most convenient ones. The upmajor chord is a particularly dissonant triad. See "Innate-comma chords" below for augmented triads.

{| class="wikitable"

!chord type ---->

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It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). A high-3 low-5 voicing (5 R 7 3) uses all 6 strings, thus is only sometimes possible. A high-3-7 voicing (R 5 3 7) requires 7 strings. Half-dim chords can alternatively be named as dim add-7 chords, e.g. the uphalfdim chord is C^dim^7 or C^o^7, spoken as updim-upseven.

The upmajor7 chord C^M7 = C ^E G ^B is quite dissonant, with ^M7 = 27/14~~. See "Innate-comma chords" below for dim7 chords~~.

See "Innate-comma chords" below for dim7 chords. The upmajor7 chord C^M7 = C ^E G ^B is a possibility, but it's quite dissonant, with ^M7 = 27/14.

'''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4, example note D) to any of the first 4 tetrads increases the intervallic odd-limit only slightly if at all. The up-7 chord is arguably improved by adding a 9th. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.

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The downadd7no5 chord has 5/4 and 16/9. Surprisingly, its intervallic odd-limit is only 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. This dom7 chord is often appropriate for translating 12-edos V7 -- I cadence: relaxed but not too relaxed. 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 downmajor7sus4 chord (odd-limit 15) also has an innate Ruyoyo comma. ~~It's~~ quite striking in close ~~position~~. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of CvM7(4) is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.

The downmajor7sus4 chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of CvM7(4) is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.

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. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.

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In much music, especially pre-20th-century music, the dissonance of the dom7 chord is what drives the V7 - I cadence and gives the music momentum. But 41-edo's smooth v7 chord is like a guard dog that smiles and wags its tail at strangers instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place in a pre-20th-century context. One might instead use Vv,7 (down add-7, with a plain minor 7th) or Vv,^7 (down up-7, with an upminor 7th). For example, Am - G - F - E7 can be translated as A^m - ^Gv - ^Fv - Ev,^7. (This also avoids a pitch shift.)

For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the ^7 chord, there are three common notes, and the progression feels even more connected.

For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.

However, if the I chord has no 7th, or a minor 7th, either II^m7 - Vv7 - Iv~~(7)~~ or IIvm7 - Vv7 - Iv~~(7)~~ works. The IIvm7 chord is more connected to the V chord than II^m7.

However, if the I chord has no 7th, or a minor 7th, either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv works. The IIvm7 chord is more connected to the V chord than II^m7.

Actual song translations are on separate xenwiki pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here!

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 === Triads ===
-Other voicings are possible; these are just the most convenient ones. The alternate names for the voicings are explained in the next section. The upmajor chord is a particularly dissonant triad. See "Innate-comma chords" below for augmented triads.
+The alternate names for the voicings are explained in the next section. Other voicings are possible; these are just the most convenient ones. The upmajor chord is a particularly dissonant triad. See "Innate-comma chords" below for augmented triads.
 {| class="wikitable"
 !chord type ---->
@@ Line 325: / Line 325: @@
 It's generally impossible to voice 7th chords in 1st, 2nd or 3rd inversion close voicings, because the 7th occurs on the same string as the 8ve. Instead voicings are named as close (root position, R 3 5 7), high-3 (3rd raised an 8ve) and low-5 (5th lowered an 8ve). A high-3 low-5 voicing (5 R 7 3) uses all 6 strings, thus is only sometimes possible. A high-3-7 voicing (R 5 3 7) requires 7 strings. Half-dim chords can alternatively be named as dim add-7 chords, e.g. the uphalfdim chord is C^dim^7 or C^o^7, spoken as updim-upseven.
-The upmajor7 chord C^M7 = C ^E G ^B is quite dissonant, with ^M7 = 27/14. See "Innate-comma chords" below for dim7 chords.
+See "Innate-comma chords" below for dim7 chords. The upmajor7 chord C^M7 = C ^E G ^B is a possibility, but it's quite dissonant, with ^M7 = 27/14.
 '''9ths are shown in parentheses'''. Adding a major 9th (ratio 9/4, example note D) to any of the first 4 tetrads increases the intervallic odd-limit only slightly if at all. The up-7 chord is arguably improved by adding a 9th. The no3, no5 and no7 (i.e. add9) versions of the ^9 and v9 chords are all 9-odd-limit chords.
@@ Line 600: / Line 600: @@
 The downadd7no5 chord has 5/4 and 16/9. Surprisingly, its intervallic odd-limit is only 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. This dom7 chord is often appropriate for translating 12-edos V7 -- I cadence: relaxed but not too relaxed. 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 downmajor7sus4 chord (odd-limit 15) also has an innate Ruyoyo comma. It's quite striking in close position. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of CvM7(4) is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.
+The downmajor7sus4 chord (odd-limit 15) also has an innate Ruyoyo comma. The chord is quite striking in close voicing. The interval from 4/3 up to 15/8 is 45/32, equivalent to 7/5. The homonym of CvM7(4) is the sus2addb5 chord F2,b5 = F G Cb C. In 41-edo, Cb is enharmonically equivalent to vB. In chord names, "(b5)" means alter the 5th by flattening it, but ",b5" means add a flat 5th alongside the perfect 5th.
 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. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.
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 In much music, especially pre-20th-century music, the dissonance of the dom7 chord is what drives the V7 - I cadence and gives the music momentum. But 41-edo's smooth v7 chord is like a guard dog that smiles and wags its tail at strangers instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place in a pre-20th-century context. One might instead use Vv,7 (down add-7, with a plain minor 7th) or Vv,^7 (down up-7, with an upminor 7th). For example, Am - G - F - E7 can be translated as A^m - ^Gv - ^Fv - Ev,^7. (This also avoids a pitch shift.)
-For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the ^7 chord, there are three common notes, and the progression feels even more connected.
+For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.
-However, if the I chord has no 7th, or a minor 7th, either II^m7 - Vv7 - Iv(7) or IIvm7 - Vv7 - Iv(7) works. The IIvm7 chord is more connected to the V chord than II^m7.
+However, if the I chord has no 7th, or a minor 7th, either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv works. The IIvm7 chord is more connected to the V chord than II^m7.
 Actual song translations are on separate xenwiki pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here!