Kite Guitar translations by Kite Giedraitis: Difference between revisions
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This arrangement travels down the neck, only to rapidly climb back up in the last two measures. The melody strays from the key. | This arrangement travels down the neck, only to rapidly climb back up in the last two measures. The melody strays from the key. | ||
Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords | Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords. The shift can be lessened by bending the entire VII chord sharp a third-fret, and bending the next chord sharp a sixth-fret.<tt> | ||
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I^m Vv bVIIv IVv | I^m Vv bVIIv IVv | ||
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^bIIIv ^bVIIv V^m | ^bIIIv ^bVIIv V^m | ||
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or | | 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or | ||
| 5 . . . . . | . . . 7* 5 . | 2 . . . . . | . . . . . . | | | 5 . . . . . | . . . 7* 5 . | 2 . . . . . | . . . . . . | the other, | ||
| . . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | | | . . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | not both | ||
| 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | | 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . | | ||
| . . . . . . | 4 . . . . . | 1 . . . . . | 4 . . . . . | | | . . . . . . | 4 . . . . . | 1 . . . . . | 4 . . . . . | | ||
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^bIIIv ^bVIIv V^m | ^bIIIv ^bVIIv V^m | ||
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or | | 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or | ||
| 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | | | 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | the other, | ||
| . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | | | . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | not both | ||
| . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | | . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . | | ||
| . . . . . . | . . . . . . | . . 1 . . . | 4 . . . . . | | | . . . . . . | . . . . . . | . . 1 . . . | 4 . . . . . | | ||
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</tt> | </tt> | ||
== Mizarian Porcupine Overture (microtonal) == | == Mizarian Porcupine Overture (Herman Miller, microtonal) == | ||
Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. | Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. The last 30 seconds of this piece is a famous example of a Porcupine aka Triyo comma pump, and in fact inspired the name. The comma is rapidly pumped three times. | ||
http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding.mp3 (1999 version)<br> | |||
http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding2.mp3 (later version) | |||
<tt> | <tt> | ||
| Iv / vIII^m | vVIv / ^Iv | | | Iv / vIII^m | vVIv / ^Iv | | ||
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| ^IVv ^IVv/3 VIv | IIv V^m Vv | | | ^IVv ^IVv/3 VIv | IIv V^m Vv | | ||
</tt> | </tt> | ||
The score is written out for the (P8,P4/3) pergen, with an enharmonic of v<sup>3</sup>A1. But this is not a 41edo enharmonic. Thus from measure 2 to measure 3 the pitch drops a half-fret. | |||
[[File:Mizarian_Porcupine_Overture.png|alt=Mizarian Porcupine Overture.png|800x692px|Mizarian Porcupine Overture.png]] | |||
6-string tab in Eb downmajor. The chords are the bass clef of the score note-for-note. The | 6-string tab in Eb downmajor. The chords are the bass clef of the score note-for-note. The melodies are in absolute tab as string, dot, fret. The tonic is (4,5,3) = 4th string, 5 dots plus 3 frets = 23rd fret. | ||
<tt> | <tt> | ||
----------CHORDS---------- -----MELODY NOTES------------------ ------2ND MELODY------------------ | ----------CHORDS---------- -----MELODY NOTES------------------ ------2ND MELODY------------------ | ||
Iv . 9 9 8 10 . (3,5,3)(3,5,0)(4,5,3)(3,5,3)(3, | Iv . 9 9 8 10 . (3,5,3)(3,5,0)(4,5,3)(3,5,3)(3,6,1) (2,5,2)(3,5,3)(3,6,1)(2,5,2)(2,6,1) | ||
v3 2 1 v3 4 5 v3 4 5 v6 | v3 2 1 v3 4 5 v3 4 5 v6 | ||
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v3 5 v#4 5 | v3 5 v#4 5 | ||
vVIv 10 10 9 11 . . (4, | vVIv 10 10 9 11 . . (4,6,0) (4,5,1) (4,6,0) (5,6,0) (2,6,1) (3,5,3) (2,6,3) (3,5,3) | ||
vv#1 v7 vv#1 v6 v6 | vv#1 v7 vv#1 v6 v6 v3 ^2 v3 | ||
^Iv . 1 3 3 2 . | ^Iv . 1 3 3 2 . (,,) | ||
3 | |||
^IVv 4 . 3 5 5 . (1,4,3) (1,4,0) (2,4,3) | ^IVv 4 . 3 5 5 . (1,4,3) (1,4,0) (2,4,3) (,,) (,,) | ||
6 ^5 ^4 | 6 ^5 ^4 ^1 6 | ||
^IVv/3 . 4 3 5 5 . (3,4,1) (3,4,2) | ^IVv/3 . 4 3 5 5 . (3,4,1) (3,4,2) (,,) (,,) (,,) | ||
^1 v#1 | ^1 v#1 ^5 ^4 ^5 | ||
VIv . 4 4 3 5 . (4, | VIv . 4 4 3 5 . (4,5,0) (,,) | ||
^m7 | ^m7 3 | ||
IIv . 4 6 6 . . (4,4,2) | IIv . 4 6 6 . . (4,4,2) (,,) (,,) | ||
6 | 6 v#4 2 | ||
V^m . 6 6 8 . . (2, | V^m . 6 6 8 . . (2,5,1) (,,) (,,) | ||
^4 | ^4 ^m7 ^m6 | ||
Vv . 7 6 8 . . (2,5,2) | Vv . 7 6 8 . . (2,5,2) (,,) (,,) | ||
5 | 5 5 v7 | ||
Iv . 9 9 8 10 . (3,5,3) | Iv . 9 9 8 10 . (3,5,3) (,,) | ||
v3 | v3 1 | ||
</tt> | </tt> | ||