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. Triadic songs use mostly triads and end on a triad, tetradic songs use mostly tetrads and end on a tetrad. The distinction is somewhat arbitrary, especially since sometimes in the course of translation triads become tetrads. The triadic songs tend to be [[5-limit]], and the tetradic ones tend to be [[7-limit]] or higher. | |||
== Triadic Songs == | == Triadic Songs == | ||
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Chords for the strumming part: | Chords for the strumming part: | ||
<tt> | |||
IVv . 2 . 1 3 3 | IVv . 2 . 1 3 3 | ||
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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. 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> | 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> | |||
I^m Vv bVIIv IVv | I^m Vv bVIIv IVv | ||
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</tt> | </tt> | ||
8-string tab in A upminor:< | 8-string tab in A upminor: | ||
<tt> | |||
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m | |||
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | | | . . . . . . | . . . . . . | . . . . . . | . . . . . . | | ||
| . . . . 3 . | 6 . . 8 6 . | 3 . . . . . | . . . . . . | | | . . . . 3 . | 6 . . 8 6 . | 3 . . . . . | . . . . . . | | ||
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| . . 5 . . . | . . 3 . . . | . . 5 . . . | . . . . . . | | | . . 5 . . . | . . 3 . . . | . . 5 . . . | . . . . . . | | ||
| . . . . . . | . . . . . . | 6 . . . . . | 6 . . . . . | | | . . . . . . | . . . . . . | 6 . . . . . | 6 . . . . . | | ||
| 6 . . . . . | 4 . . . . . | . . . . . . | . . . . . . |</tt> | | 6 . . . . . | 4 . . . . . | . . . . . . | . . . . . . | | ||
</tt> | |||
=== 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. | ||
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3 - - - | - - - - | 17 - - - | - - 17 - | 3 - - - | - - - - | 17 - - - | - - 17 - | ||
</tt> | </tt> | ||
== Tetradic Songs == | == Tetradic Songs == | ||
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Bbv vA^m vD^m7 / | Gvm7 Cv7 Fv Fv7 | Bbv vA^m vD^m7 / | Gvm7 Cv7 Fv Fv7 | ||
| | | | ||
Bbv vA^m vD^m7 / | Gv7 / Cv7 /</tt> | Bbv vA^m vD^m7 / | Gv7 / Cv7 / | ||
</tt> | |||
=== Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) === | === Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers) === | ||
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FvM7 Bvm7(b5) Esus4 Ev7 | FvM7 Bvm7(b5) Esus4 Ev7 | ||
</tt> | </tt> | ||
In relative notation: | In relative notation: | ||
<tt> | <tt> | ||
I^m7 IV^m7 bVIIv7 bIIIvM7 | I^m7 IV^m7 bVIIv7 bIIIvM7 | ||
bVIvM7 IIvm7(b5) Vsus4 Vv7 | bVIvM7 IIvm7(b5) Vsus4 Vv7 | ||
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Vv7 6 . 5 3 7 . | Vv7 6 . 5 3 7 . | ||
</tt> | </tt> | ||
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Vv7 . . 7 7 6 4 | Vv7 . . 7 7 6 4 | ||
</tt> | </tt> | ||
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A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | ||
</tt> | </tt> | ||
Relative notation: | Relative notation: | ||
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IV^m7 bVIIv7 I^m7 / | IV^m7 bVIIv7 I^m7 / | ||
IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7 | 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. | 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. | ||
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2 - - 2 | - - - 2 | - - - 2 | - - - - | 2 - - 2 | - - - 2 | - - - 2 | - - - - | ||
</tt> | </tt> | ||
== Barbershop, World Music, Microtonal Music, etc. == | == Barbershop, World Music, Microtonal Music, etc. == | ||