Kite Guitar: Difference between revisions

v8  P8  

This chart shows 41-edo in terms of 12-edo. "-ish" means ±1 edostep. The 12 categories circled in red correspond to the notes of 12-edo. The two innermost and two outermost intervals are duplicates.

But anyway, the two designs can coexist on the same fretboard by simply inserting an extra fret between the 1st and 2nd instead of moving the 2nd fret lower as I have done, and by varying the tuning of the open strings as you please. It's a fantastic way to access the resources of 41edo on a guitar, without having an absurd number of very closely-spaced frets!"

== Fretboard Charts (downmajor tuning) ==

This chart is the same, but extends much further. Some ratios change in the higher octaves, e.g. 16/15 becomes not 32/15 but 15/7.

[[File:The Kite Tuning 2.png|none|thumb|1000x1000px]]

This chart shows the actual notes of an 8-string Kite guitar. A 6-string is usually tuned to the middle 6 strings of an 8-string. The ideal string gauges for this tuning are discussed in the "For Luthiers" section. Every 4th fret has a dot, and every 12th fret has a double dot. Three dots equals a 5th.   

[[File:The Kite Tuning 4.png|none|thumb|1036x1036px]]

1 . 4 (2) 3 1

|1 . 4 (2) 1 1

|}

=== Innate-comma chords ===

For example, the downadd7no5 chord has 5/4 and 16/9. 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 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.

The downaddflat5 chord Cv,b5 (odd-limit 15) has both a perfect and a diminished 5th. This chord is best voiced low-5. In other voicings, the two 5ths 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).  

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.

Often there is only one obvious way to translate a song. I - V - VIm - IV becomes Iv - Vv - vVI^m - IVv. Sometimes there are multiple obvious translations. For example, the first 3 chords of "When I Was Your Man" are II7 - IIm7 - I. That could become vII^7 - vII^m7 - Iv, or it could become ^IIv7 - ^IIvm7 - Iv.

Likewise, I7 - IV7 - V7 - I7 is a Ru pump. The usual translation is Iv7 - IVv7 - Vv7 - Iv7, with the 4th shifting between the IV and V chords. Another example is Im7 - bIIIm6 - bVII7 - IV7 - I7. The root movements are m3, P5, P5, P5. Without the pump, the m3 movement would be translated to vm3. With the pump, to avoid an ^5 movement, the translation is Iv7 - bIII^m6 - bVIIv7 - IVv7 - I.

One way to hide pitch shifts is to voice the two occurrences of the pitch in different octaves. Another way is to omit the 5th in one of the chords. Thus in the Gu example, the 2nd chord might be VI^mno5.  

=== [[Song_Translations_by_Kite_Giedraitis_to_The_Kite_Guitar|Kite Giedraitis's Translations to the Kite Guitar]] ===

== Original Compositions ==

[[Originals by Kite Giedraitis for The Kite Guitar]]