Kite Guitar translations by Kite Giedraitis: Difference between revisions
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[[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds. | [[KiteGiedraitis|Kite Giedraitis]]'s translations for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds. | ||
== Tetradic Songs == | |||
== Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) == | == Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) == | ||
| Line 161: | Line 163: | ||
IV^9 . 9 10 8 7 7 | IV^9 . 9 10 8 7 7 | ||
</tt> | </tt> | ||
== Girl From Ipanema (Antônio Carlos Jobim) == | == Girl From Ipanema (Antônio Carlos Jobim) == | ||
| Line 269: | Line 272: | ||
v7 v6 | v7 v6 | ||
vb7 vb6 | vb7 vb6 | ||
</tt> | |||
== Killing Me Softly (Roberta Flack) == | |||
Arranged by Kite and Athan Spathas. Absolute notation: | |||
<tt> | |||
chorus: E^m7 A^m7 Dv7 ^Gv GvM7 | |||
E^m7 Av6 Dv7 ^Cv7 | |||
^Gv6 ^Cv7 ^FvM7(b5) / | |||
Ev N.C. | |||
verse: A^m7 Dv7 ^Gv ^GvM7 ^CvM7 | |||
A^m7 Dv7 E^m7 / | |||
A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | |||
</tt> | |||
Relative notation: | |||
<tt> | |||
chorus: I^m7 IV^m7 bVIIv7 ^bIIIv ^bVIvM7 | |||
I^m7 IVv6 bVIIv7 ^bVIv7 | |||
^bIIIv6 ^bVIv7 ^bIIvM7(b5) / | |||
Iv N.C. | |||
verse: IV^m7 bVIIv7 ^bIIIv ^bIIIvM7 ^bVIv | |||
IV^m7 bVIIv7 I^m7 / | |||
IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7 | |||
</tt>This song pumps the [[81/80|Meantone comma]], resulting in pitch shifts whenever a D chord is followed by an ^G chord. D shifts to ^D, but this shift can be masked by voicing the D an octave below the ^D. Stylistically, the ^Gv chord should be an ^GvM7 chord, but this creates another shift, vF# to F#. This shift is masked by delaying the F# note, in other words adding the 7th halfway through the ^Gv chord's duration. Thus the ^GvM7 chord is a passing chord. In the chorus, the bass line can use the 7th to walk down: ^G F# E. Alternatively, the D chords could become vD chords, but this would create other pitch shifts. | |||
The ^FvM7(b5) chord could alternatively be an ^FvM9v#11 chord voiced 1-3-5-7-9-11 and fretted e.g. 4 4 3 3 2 2. | |||
The melody uses the scale E vF# ^G A B ^C D E except for: | |||
* Chorus, "Telling my whole life with his words", "life" and "his" are ^D | |||
* Verse, 2nd line "heard" is ^D | |||
* Verse, 4th line "listen" 2nd syllable is F# | |||
* Verse, 5th line "was" and "young" are vB | |||
* Verse, 6th line, "to my" is vD# | |||
Alternatively, "was" and "young" could be plain B, and the Dv6 chord could be Dv7. But then the B and ^C in the melody might perhaps clash too much with the vC in the chord. | |||
The v6 chords can be voiced 1-3-6-8. Without the 5th, the chord tends to "flip" to an ^m triad 1st inversion. But two things help reinforce it as a v6no5 chord: the doubling of the root at the octave, and the context of previous chord changes. | |||
On a 6-string, with the tonic at the 5th string, 1st dot:<tt> | |||
I^m7 . 4 . 3 2 4 | |||
IV^m7 . 4 6 5 . 4 | |||
VIIv7 7 . 6 4 8 . | |||
^bIIIv . . 3 3 2 4 | |||
^bIIIvM7 . . 3 3 2 2 | |||
IVv6 . . 6 6 8 7 | |||
^bVIv7 4 . 3 1 5 . | |||
^bIIIv6 . . 3 3 5 4 | |||
^bIIvM7(b5) . 6 . 3 5 7 | |||
^bVIvM7 4 . 3 3 5 . (or 4 . 3 3 5 4) | |||
VIIv6 7 . 9 8 8 . | |||
Vv,^7 2 . 1 0 3 2 | |||
</tt> | </tt> | ||
== I Will (The Beatles) == | == I Will (The Beatles) == | ||
This song pumps the [[81/80| | This song pumps the [[81/80|Meantone comma]] very rapidly. The Gvm7 chords could instead be G^m7 chords. Note the ^4 root movement from vD to G. Alternatively, a D root could be used. | ||
<tt> | <tt> | ||
| Line 288: | Line 368: | ||
</tt> | </tt> | ||
== Triadic Songs == | |||
== And I Love Her (The Beatles) == | == And I Love Her (The Beatles) == | ||
This song switches between relative major and minor so smoothly, it's hard to say what key it's in. Here it's written out as major. | This song switches between relative major and minor so smoothly, it's hard to say what key it's in. Here it's written out as major. | ||
This song has an ascending 81/80 comma pump. While comma pumps are usually handled with pitch shifts, this is a rare example of a song for which tonic drift works. Tonic drift is easier to accept if it’s ascending, not descending. It only drifts up after the chorus, and this upward drift is arguably a nice touch. The Beatles changed key up a semitone at that point, and this is just a more subtle version of that. | This song has an ascending [[81/80|Meantone comma]] pump. While comma pumps are usually handled with pitch shifts, this is a rare example of a song for which tonic drift works. Tonic drift is easier to accept if it’s ascending, not descending. It only drifts up after the chorus, and this upward drift is arguably a nice touch. The Beatles changed key up a semitone at that point, and this is just a more subtle version of that. | ||
<tt> | <tt> | ||
| Line 444: | Line 526: | ||
</tt> | </tt> | ||
== Hotel California (The Eagles) == | == Hotel California (The Eagles) == | ||
| Line 761: | Line 767: | ||
| 5 . . . . . | 3 . . . . . | . . . . . . | . . . . . . | | | 5 . . . . . | 3 . . . . . | . . . . . . | . . . . . . | | ||
</tt> | </tt> | ||
== World Music, Microtonal, etc. == | |||
== My old Kentucky Home (barbershop tag) == | |||
Accompianing a barbershop quartet with the Kite guitar is fairly easy, and highly recommended! However playing a tag note for note is often impossible, because tags often use a 3-5-7-8 chord voicing. This tag is an exception, except for the 2nd-to-last chord. Translation by Aaron Wolf. | |||
Vocal rendition, individual vocal tracks, sheet music, and videos: https://www.barbershoptags.com/tag-82-My-Old-Kentucky-Home In this version, the baritone's first "way" has been changed from an ^b3 to a b5, to avoid an 8ve with the tenor, and to provide the chord with a 7th. In 41edo, this Cb is the same note as the baritone's "home" note, just spelled differently. | |||
<tt> | |||
For my old Ken-tuck-y home, far a-way, far a-way | |||
tenor: v6 b6 5 v3 v6 v5 v8 9 9 ^b10 v9 v9 v10 | |||
lead: 1 2 v3 1 4 3 6 v7 v7 8 ---------> | |||
baritone: 1 5 1 v#1 v#4 v4 v4 b5 4 4 5 (the baritone's "Ken" note is a low note a 4th below the 1) | |||
bass: 1 1 4 6 9 5 5 ^b6 b7 b7 8 (the 1 of the bass is an 8ve lower than the 1 of the other voices) | |||
</tt> | |||
Chords for 6-string guitar in G#: | |||
<tt> | |||
For IVvno1 . 18 . 20 . . | |||
my II5(b5) . . 15 . 12 . | |||
old Iv 4 . . 5 5 4 | |||
Ken- Iv 4 . 3 5 5 . | |||
tuck- IVv . 6 . 5 7 7 | |||
y VIv7 . 13 13 12 10 . | |||
home IIv7 . . 15 15 14 12 | |||
far a- Vv7 16 . . 13 17 16 fingering: 2 . . 1 4 3 | |||
way ^bVIv7 18 . . 15 19 18 " | |||
far a- bVIIv,9 21 . 20 . 19 . alternate (2,19) with (2,22) | |||
way Iv . 18 . 17 19 19 | |||
</tt> | |||
== Kusuva Musha (traditional mbira) == | == Kusuva Musha (traditional mbira) == | ||
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- - - 5 - - | - - - 5 - - | - - - - - - | - - - - - - | | - - - 5 - - | - - - 5 - - | - - - - - - | - - - - - - | | ||
/ | / | ||
</tt> | </tt> | ||