Kite Guitar Originals by Kite Giedraitis: Difference between revisions
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added 4 songs, moved "I Hear Numbers" from my translations page over to here |
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[[KiteGiedraitis|Kite Giedraitis]]'s originals for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds. | [[KiteGiedraitis|Kite Giedraitis]]'s originals for the [[The_Kite_Guitar|Kite Guitar]]. All tabs are for a guitar tuned in downmajor 3rds. Some of these are more riffs than songs. | ||
== Underground Revolution == | == Underground Revolution == | ||
| Line 28: | Line 29: | ||
</tt> | </tt> | ||
verse with rhythm, lead melody and high harmony (a comma in the rhythm means a skipped beat) | The verse with rhythm, lead melody and high harmony (a comma in the rhythm means a skipped beat) | ||
<tt> | <tt> | ||
Iv7 IVv7 vbIII^9 Iv7 IVv7 Vv7 | Iv7 IVv7 vbIII^9 Iv7 IVv7 Vv7 | ||
| Line 44: | Line 45: | ||
</tt> | </tt> | ||
chorus with rhythm, high harmony, lead melody and low harmony | The chorus with rhythm, high harmony, lead melody and low harmony | ||
<tt> | <tt> | ||
Iv7 vbIII^m6 IVv7 vbVI^m6 Vv7 | Iv7 vbIII^m6 IVv7 vbVI^m6 Vv7 | ||
| Line 52: | Line 53: | ||
vb10 8 vb10 8 vb7 vb7 8 vb10 8 vb7 8 vb10 8 vb10 8 v6 v6 8 vb10 v7 5 v7 | vb10 8 vb10 8 vb7 vb7 8 vb10 8 vb7 8 vb10 8 vb10 8 v6 v6 8 vb10 v7 5 v7 | ||
vb7 5 vb7 5 v3 v3 5 vb7 b5 vb3 b5 v6 4 v6 4 vb3 vb3 4 vb6 4 2 v4 | vb7 5 vb7 5 v3 v3 5 vb7 b5 vb3 b5 v6 4 v6 4 vb3 vb3 4 vb6 4 2 v4 | ||
</tt> | |||
== I Hear Numbers == | |||
Based on the keyboard part, not the electric guitar part. I wrote this in 7-limit JI, but it works well in 41edo. The breakdown pumps the Bizozogu microcomma, which 41edo tempers out. | |||
Full song: http://tallkite.com/music/IHearNumbers.mp3 | |||
Keyboard part with a guitar sound: http://tallkite.com/music/IHearNumbersKeyboardOnGuitar.mp3 | |||
Liner notes: http://tallkite.com/music/IHearNumbers.html | |||
Chords:<tt> | |||
intro: Vv7 vIII^m7(b5) Vv7 vIII^m7(b5) | |||
Vv7 vIII^m7(b5) Vv7 / | |||
solos: Iv7 vbIII^m6 IVv7 / | |||
Iv7 vbIII^m6 IVv7 / | |||
bVIIv7 bVIIv7no1 vbIII^m6 / | |||
vbVI^ vbVI^7 Vv7 / | |||
verse 1: Iv7 vbVII^m6 Iv7 vbVII^m6 | |||
Iv7 vbVII^m6 Iv7 vbVII^m6 | |||
Iv7 vbVII^m6 Iv7 vbVII^m6 | |||
Iv7 vbVII^m6 Iv7 / | |||
chorus: vVI^m7 / vVII^m6(b5) / | |||
/ / vVI^m7 / | |||
/ / vVII^m6(b5) / | |||
vVI^7 vVI^m6(b5) Vv7 / | |||
breakdown: Iv7 vbVII^m6 bVv7 [vbbVII=^#V]^m6 | |||
^#IIv7 #IV^m6 ^VIv7 Vv7 | |||
verse 2: Iv7 vbVII^m6 Iv7 vbVII^m6 | |||
Iv7 vbVII^m6 Iv7 IIv7 | |||
bridge: Vv7 Vvm7(b5) IIv7 / | |||
/ IIvm7(b5) Vv7 VIvm7 | |||
IIIv7 IIIvm7(b5) VIv7,b9 VIv6 | |||
/ VIvm7(b5) IIv7 Vv7 | |||
coda: Iv7 / vbVII^m7 / | |||
vbIII^7 / Vv7 / | |||
</tt> | |||
Guitar tab in ^C for a 6-string guitar. ^C is 5th string, 1st dot plus 1 fret, written as (5,1,1). Some chords had to be simplified, 8 strings are really needed for this song. | |||
In the chorus, use the passing chords to get this bass line:<br> | |||
(5,5,0) (6,4,2) (5,5,0) (5,4,1) <br> | |||
(4,4,1) (5,3,1) (4,4,1) (5,4,3) etc. | |||
The bridge has this bass line: <br> | |||
(5,4,1) (6,3,3) (5,4,1) (5,3,1) <br> | |||
(6,3,3) (4,3,2) (6,3,3) (5,3,3) <br> | |||
(6,3,3) (4,3,2) (6,3,3) (5,3,1) <br> | |||
(5,4,1) (6,3,3) (4,3,2) (4,3,2) <br> | |||
(5,3,0) (6,2,2) (5,3,0) (5,2,0) etc. | |||
<tt> | |||
intro chords: Vv7 . 17 17 16 14 . | |||
vIII^m7(b5) 18 . 15 16 18 . (2nd time play 18 17 15 16) | |||
walkdown (5,17) (5,13) (6,16) (6,15) | |||
solo chords: Iv7 . 5 . 4 2 6 | |||
vbIII^m6 . 5 3 2 2 (4) | |||
IVv7 . . 7 7 6 4 | |||
bVIIv7 8 . 7 5 9 . | |||
bVIIv7no1 . 8 7 5 9 . | |||
vbIII^m6no5 . . 3 2 6 4 (fingering: 2 1 4 3) | |||
vbVI^ 4 . 3 5 6 . (fingering: 2 1 3 4) | |||
vbVI^9 . 18 19 17 16 16 | |||
Vv7 . 17 17 16 14 . | |||
verse chords: Iv7 3 5 5 . 2 . (fingering: 2 3 4 1) | |||
vbVII^m6 3 1 0 0 . . (fingering: 2 1) | |||
vbVII^m6 3 1 0 0 2 1 (fingering: 4 1 3 2) (advanced version) | |||
chorus chords: vVI^m7 18 20 19 . 18 . (see comments above for the bass line) | |||
(passing chord) . 17 19 . 18 . (fingering: 1 3 2) | |||
vVII^m6(b5) . 13 17 16 20 . | |||
(passing chord) . 19 . 16 20 . (fingering: 3 2 4) | |||
vVI^9 . 20 21 19 18 18 | |||
vVI^m6(b5) . 20 19 * . . (* riff between 17 and 23) | |||
Vv7 . 17 17 16 14 . | |||
breakdown: Iv7 . 17 * 19 . . (* riff between 15 and 19) | |||
vbVII^m6 . 17 15 14 14 . | |||
bVv7 . 15 15 14 12 . | |||
^#V^m6 . 15 13 12 12 . | |||
^#IIv7 . 11 11 10 8 . | |||
#IV^m6 . 11 9 8 8 . | |||
^VIv7 7 . 6 4 8 . | |||
Vv7 3 . 2 0 4 . | |||
bridge chords: Vv7 15 17 17 (16) 14 . (see comments above for the bass line) | |||
Vvm7(b5) . 13 15 14 14 . (lacks the root unfortunately) | |||
IIv7 15 . 14 12 16 . (use this for the pickup chord as well) | |||
IIvm7(b5) . 13 12 12 14 . (lacks the root unfortunately) | |||
VIvm7 . . 14 12 13 11 | |||
IIIv7 10 12 12 (11) 9 . | |||
IIIvm7(b5) . 8 10 9 9 . (lacks the root unfortunately) | |||
VIv7,b9 . . 14 14 13 11 (lacks the 9th unfortunately) | |||
VIv6 . . 14 14 16 15 (lacks the 5th unfortunately) | |||
VIvm7(b5) . . 14 12 11 11 | |||
Vv7 . 17 17 16 14 . | |||
coda chords: Iv7 . 5 . 4 2 6 | |||
vbVII^m7 . 1 0 0 2 1 (lacks the 7th unfortunately, I ran out of frets) | |||
vbIII^7 . . 3 4 2 1 | |||
Vv7 3 . 2 0 4 (3) | |||
</tt> | </tt> | ||
| Line 60: | Line 178: | ||
Key: A downminor | Key: A downminor | ||
<tt> | <tt> | ||
vbVI^ | vbVI^ Ivm vbVI^ Ivm | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - | | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | | ||
| - | | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | | ||
5 | 6 | 5 | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - 5 | | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - | | - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - | | ||
IVvm | IVvm bVIIv IVv7 | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - | | - - 9 - - - 9 - | - - 9 - - - 9 - | - - 5 - - - 5 - | - - 5 - - - 5 - | | ||
| - | | - 7 - 7 - 7 - 7 | - 10- 10- 10- 10| - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | | ||
| 6 | | 6 - - - 6 - - - |10 - - - 10- - - | 8 - - - - - - - | 8 - - - - - - 5 | | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - 8 - - - | - - - - 8 - - - | | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
IVvm | IVvm bVIIv Iv Ivdim | ||
| - | | - - - - - - - - | - - - - - - - - | - - 6 - - - 6 - | - - 4 - - - 4 - | | ||
| - | | - - 9 - - - 9 - | - - 9 - - - 9 - | - 7 - 7 - 7 - 7 | - 5 - 5 - 5 - 5 | | ||
| - | | - 7 - 7 - 7 - 7 | - 10- 10- 10- 10| 7 - - - 7 - - - | 7 - - - 7 - - - | | ||
| 6 | | 6 - - - 6 - - - |10 - - - 10- - - | - - - - - - - - | - - - - - - - - | | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
vbVII^ | vbVII^ vbVII^m Vvdim vbIII^9 | ||
| - | | - - 2 - - - 2 - | - - 2 - - - 2 - | - - - - - - - - | - - - - 2 - - - | | ||
| - | | - 4 - 4 - 4 - 4 | - 2 - 2 - 2 - - | - - 2 - - - 2 - | - - - 2 - 2 - - | | ||
| 3 | | 3 - - - 3 - - - | 3 - - - 3 - - 3 | - 3 - 3 - 3 - - | - - 3 - - - 3 - | | ||
| - | | - - - - - - - - | - - - - - - - - | 5 - - - 5 - - 5 | - 5 - - - - - 5 | | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | 4 - - - - - - - | | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
vbVI^ | vbVI^ Ivm vbVI^ Ivm | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - | | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - - - | | ||
| - | | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - - - - | | ||
| 6 | | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - - | | ||
| - | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - | | - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - | | ||
</tt> | </tt> | ||
| Line 113: | Line 231: | ||
vF^ Avm vF^ Avm | vF^ Avm vF^ Avm | ||
</tt> | </tt> | ||
| Line 125: | Line 242: | ||
But I Africanized it by syncopating the bass, and by changing chords early, before the bar line. | But I Africanized it by syncopating the bass, and by changing chords early, before the bar line. | ||
And I changed the melodies, because IMO simply transposing everything up a 4th on the IV chord is too predictable. | And I changed the melodies, because IMO simply transposing everything up a 4th on the IV chord is too predictable. | ||
The feel should be swingy, to make the syncopation obvious. | Warning: the repeat signs do NOT line up with the bar lines! The feel should be swingy, to make the syncopation obvious. | ||
<tt> | <tt> | ||
| Line 167: | Line 284: | ||
1st riff 2x | 1st riff 2x | ||
</tt> | |||
== II-V-I riff in A downmajor == | |||
Play with a Bossa Nova feel. When translating IIm7 - V7 - IM7, I don't like to use a Vv7 chord, because it sounds to me more resolved than the IvM7. The I chord doesn't feel like the final chord, and the progression feels incomplete. I much prefer V^7 when resolving to IvM7. | |||
<tt> | |||
II^m7 V^7 IvM7 Iv,^7 Iv7 | |||
| - - 3 - - 3 - - | - 4 - - 4 - 4 - | - - 6 - 6 6 - 6 | - 6 - - 6 - 6 - | | |||
| - - 1 - - 1 - - | - 5 - - 5 - 5 - | - - 7 - 7 7 - 5 | - 5 - - 5 - 5 - | | |||
| - - 2 - - 2 - - | - 6 - - 6 - 6 - | - - 5 - 5 5 - 4 | - 4 - - 3 - 3 - | | |||
| - - - - - - - 5 | - - - 5 - - - - | - - - - - - - - | - - - - - - - - | | |||
| 3 - - - 3 - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | |||
| - - - - - - - - | - - - - - - - - | 6 - - - - - - - | - - - 6 - - - - | | |||
</tt> | |||
== The Relative Song == | |||
So-called because it switches between relative major and minor. No roman numerals because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression. | |||
Each column is a 16th note. Play uptempo. It has nice long pauses after the chromatic bass runs, plenty of time to get your fingers in place for the strumming. Just for fun, you can start on the ^G chord or even the ^D chord. | |||
<tt> | |||
// ^C^m7 ^F^7 1,2-----\\ 3-------\\ | |||
(3x) || - - - - 5 - 5 5 | - 5 5 - - - - - | - - - - 5 - 5 5 | - 5 5 - - - - - || - - - - || | |||
|| - - - - 3 - 3 3 | - 3 3 - - - - - | - - - - 6 - 6 6 | - 6 6 - - - - - || - - - - || | |||
|| - - - - 4 - 4 4 | - 4 4 - - - - - | - - - - 8 - 8 8 | - 8 8 - - - - - || - - - - || | |||
|| - - - - - - - - | - - - - 5 - 6 - | 7 - - - 7 - 7 7 | - 7 7 - - - - - || 7 - - - || | |||
3 - 4 - || 5 - - - 5 - 5 5 | - 5 5 - - - - - | - - - - - - - - | - - - - 3 - 4 - || - - 8 - || | |||
|| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - || - - - - || | |||
\\ // // | |||
// ^Bbv7 ^Ebv7 1,2-----\\ 3-------\\ | |||
(3x) || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - || - - - - || | |||
|| - - - - 9 - 9 9 | - 9 9 - - - - - | - - - - 7 - 7 7 | - 7 7 - - - - - || - - - - || | |||
|| - - - - 5 - 5 5 | - 5 5 - - - - - | - - - - 9 - 9 9 | - 9 9 - - - - - || - - - - || | |||
|| - - - - 7 - 7 7 | - 7 7 - - - - - | - - - -10 -10 10| -10 10- - - - - || - - - - || | |||
|| - - - - - - - - | - - - - - - 9 - |10 - - -10 -10 10| -10 10- - - - - || 10- - - || | |||
|| 8 - - - 8 - 8 8 | - 8 8 - 8 - - - | - - - - - - - - | - - - - 10- 9 - || - - - - || | |||
\\ // // | |||
^D^7 ^Gv7 | |||
(once) | - - - - 0 - 0 0 | - 0 0 - 0 - 0 - | - - 3 - 3 - 3 3 | - - - - - - - - | | |||
| - - - - 1 - 1 1 | - 1 1 - 1 - 1 - | - - 4 - 4 - 4 4 | - - - - - - - - | | |||
| - - - - 3 - 3 3 | - 3 3 - 3 - 3 - | - - 0 - 0 - 0 0 | - - - - - - - - | | |||
| 2 - - - 2 - 2 2 | - 2 2 - 2 - 2 - | - - 2 - 2 - 2 2 | - - - - - - - - | | |||
| - - - - 0 - 0 0 | - 0 0 - 0 - 0 - | - - - - - - - - | - - - - 3 - 4 - | | |||
| - - - - - - - - | - - - - - - - - | 3 - 3 - 3 - 3 3 | - - - - - - - - | | |||
</tt> | |||
Chords: | |||
<tt> | |||
^C^m7 ^F^7 (3x) | |||
^Bbv7 ^Ebv7 (3x) | |||
^D^7 ^Gv7 | |||
</tt> | |||
== The Walking Song == | |||
This song pumps the Zo comma, which maps to an entire fret. Start in Ab (6th string of 6, 1st dot) and slowly march up the fretboard. When you reach the 4th dot, you can continue by jumping down to the 4th string, 3rd fret. | |||
<tt> | |||
Iv7 IVv7 vbIII^m7 ^^Vv7 | |||
^^Iv7 ~IVv7 ^bIII^m7 #Vv7 | |||
#Iv7 #IVv7 vIII^m7 ^^#Vv7 | |||
etc. | |||
</tt> | |||
Use this bass line to connect the chord roots. Play the full chords during the "...". | |||
<tt> | |||
5 v3 1 ... 1 vb3 4 ... 4 v3 vb3 ... vb3 b3 ^^5 ... ^^5 ^3 ^^1 ... | |||
</tt> | |||
Some people simply don't hear the rapid upwards tonic drift until it's pointed out to them. Even after becoming aware of it, it still feels incredibly jarring to go from the ^^V chord to a I chord. The ear insists on hearing the ^^V chord as a V chord, and it insists on the ^^I chord coming next. | |||
== Latrizo Pump == | |||
The Latrizo comma divides the 5th into three up-2nds. This riff marches up to the 5th and swoops back down. This song can't be translated to 12edo, as the video shows. | |||
https://www.youtube.com/watch?v=xsIqxLeMzng | |||
<tt> | |||
Iv7 ^IIv7 vIVv7 Vv7 | |||
</tt> | |||
Use this bass line to connect the chord roots. Play the full chords during the "...". | |||
<tt> | |||
1 ... 1 ^b2 ^2 ... ^2 ~3 v4 ... v4 b5 5 ... 5 --> 1 (slide down) | |||
</tt> | </tt> | ||
Revision as of 10:04, 14 May 2020
Kite Giedraitis's originals for the Kite Guitar. All tabs are for a guitar tuned in downmajor 3rds. Some of these are more riffs than songs.
Underground Revolution
Key: ^Bb downminor pentatonic
verse: Iv7 / IVv7 vbIII^9 Iv7 / IVv7 Vv7 Iv7 vbVII^m6 / Iv7 vbIII^m6 Vv7 Iv7 (short bar of 3 beats) IVv7 / / / / / / / chorus: Iv7 / / / vbIII^m6 / / / IVv7 / / / vbVI^m6 / Vv7 / instrumental: Iv7 N.C / / vIII^m6 / / / #IVvm7(b5) / / / IVv7 / / / Iv7 / / / / / / /
The verse with rhythm, lead melody and high harmony (a comma in the rhythm means a skipped beat)
Iv7 IVv7 vbIII^9 Iv7 IVv7 Vv7
It's the new Do Re Mi A fresh melody Harmony will be turned around
4 e & 1 & 2 & a, e a 4 1 & 2 & a, e a 4
8 8 vb7 5 vb7 8 8 8 5 5 vb7 vb7 8 5 vb7 8 8 vb7 5
v3 v3 v3 v3 vb3 vb3 vb3 2
Iv7 vbVII^m6 Iv7 vbIII^m6 Vv7 Iv7 IVv7
There's a new sound in this town Down a-round the underground scene Yeah
1 e & 2 3 & 4 1 & 2 & a, e & 1, , , 1, , ,
5 5 8 vb7 vb7 5 8 8 vb7 5 5 5 5 v3 4 vb10
b5 b5 v4 v4 v3 v3 v3 vb3
The chorus with rhythm, high harmony, lead melody and low harmony
Iv7 vbIII^m6 IVv7 vbVI^m6 Vv7 Welcome to the underground Re-vo-lu-tion New ways of thought giving us New so-lutions 1 &, & 3 a, e &, &, & 3 &, 1 &, & 3 a, e &, &, & 3 &, 5 v3 5 v3 2 2 v3 b5 vb3 1 vb3 4 vb3 4 vb3 1 1 vb3 4 vb3 v7 2 vb10 8 vb10 8 vb7 vb7 8 vb10 8 vb7 8 vb10 8 vb10 8 v6 v6 8 vb10 v7 5 v7 vb7 5 vb7 5 v3 v3 5 vb7 b5 vb3 b5 v6 4 v6 4 vb3 vb3 4 vb6 4 2 v4
I Hear Numbers
Based on the keyboard part, not the electric guitar part. I wrote this in 7-limit JI, but it works well in 41edo. The breakdown pumps the Bizozogu microcomma, which 41edo tempers out.
Full song: http://tallkite.com/music/IHearNumbers.mp3
Keyboard part with a guitar sound: http://tallkite.com/music/IHearNumbersKeyboardOnGuitar.mp3
Liner notes: http://tallkite.com/music/IHearNumbers.html
Chords:
intro: Vv7 vIII^m7(b5) Vv7 vIII^m7(b5)
Vv7 vIII^m7(b5) Vv7 /
solos: Iv7 vbIII^m6 IVv7 /
Iv7 vbIII^m6 IVv7 /
bVIIv7 bVIIv7no1 vbIII^m6 /
vbVI^ vbVI^7 Vv7 /
verse 1: Iv7 vbVII^m6 Iv7 vbVII^m6
Iv7 vbVII^m6 Iv7 vbVII^m6
Iv7 vbVII^m6 Iv7 vbVII^m6
Iv7 vbVII^m6 Iv7 /
chorus: vVI^m7 / vVII^m6(b5) /
/ / vVI^m7 /
/ / vVII^m6(b5) /
vVI^7 vVI^m6(b5) Vv7 /
breakdown: Iv7 vbVII^m6 bVv7 [vbbVII=^#V]^m6
^#IIv7 #IV^m6 ^VIv7 Vv7
verse 2: Iv7 vbVII^m6 Iv7 vbVII^m6
Iv7 vbVII^m6 Iv7 IIv7
bridge: Vv7 Vvm7(b5) IIv7 /
/ IIvm7(b5) Vv7 VIvm7
IIIv7 IIIvm7(b5) VIv7,b9 VIv6
/ VIvm7(b5) IIv7 Vv7
coda: Iv7 / vbVII^m7 /
vbIII^7 / Vv7 /
Guitar tab in ^C for a 6-string guitar. ^C is 5th string, 1st dot plus 1 fret, written as (5,1,1). Some chords had to be simplified, 8 strings are really needed for this song.
In the chorus, use the passing chords to get this bass line:
(5,5,0) (6,4,2) (5,5,0) (5,4,1)
(4,4,1) (5,3,1) (4,4,1) (5,4,3) etc.
The bridge has this bass line:
(5,4,1) (6,3,3) (5,4,1) (5,3,1)
(6,3,3) (4,3,2) (6,3,3) (5,3,3)
(6,3,3) (4,3,2) (6,3,3) (5,3,1)
(5,4,1) (6,3,3) (4,3,2) (4,3,2)
(5,3,0) (6,2,2) (5,3,0) (5,2,0) etc.
intro chords: Vv7 . 17 17 16 14 .
vIII^m7(b5) 18 . 15 16 18 . (2nd time play 18 17 15 16)
walkdown (5,17) (5,13) (6,16) (6,15)
solo chords: Iv7 . 5 . 4 2 6
vbIII^m6 . 5 3 2 2 (4)
IVv7 . . 7 7 6 4
bVIIv7 8 . 7 5 9 .
bVIIv7no1 . 8 7 5 9 .
vbIII^m6no5 . . 3 2 6 4 (fingering: 2 1 4 3)
vbVI^ 4 . 3 5 6 . (fingering: 2 1 3 4)
vbVI^9 . 18 19 17 16 16
Vv7 . 17 17 16 14 .
verse chords: Iv7 3 5 5 . 2 . (fingering: 2 3 4 1)
vbVII^m6 3 1 0 0 . . (fingering: 2 1)
vbVII^m6 3 1 0 0 2 1 (fingering: 4 1 3 2) (advanced version)
chorus chords: vVI^m7 18 20 19 . 18 . (see comments above for the bass line)
(passing chord) . 17 19 . 18 . (fingering: 1 3 2)
vVII^m6(b5) . 13 17 16 20 .
(passing chord) . 19 . 16 20 . (fingering: 3 2 4)
vVI^9 . 20 21 19 18 18
vVI^m6(b5) . 20 19 * . . (* riff between 17 and 23)
Vv7 . 17 17 16 14 .
breakdown: Iv7 . 17 * 19 . . (* riff between 15 and 19)
vbVII^m6 . 17 15 14 14 .
bVv7 . 15 15 14 12 .
^#V^m6 . 15 13 12 12 .
^#IIv7 . 11 11 10 8 .
#IV^m6 . 11 9 8 8 .
^VIv7 7 . 6 4 8 .
Vv7 3 . 2 0 4 .
bridge chords: Vv7 15 17 17 (16) 14 . (see comments above for the bass line)
Vvm7(b5) . 13 15 14 14 . (lacks the root unfortunately)
IIv7 15 . 14 12 16 . (use this for the pickup chord as well)
IIvm7(b5) . 13 12 12 14 . (lacks the root unfortunately)
VIvm7 . . 14 12 13 11
IIIv7 10 12 12 (11) 9 .
IIIvm7(b5) . 8 10 9 9 . (lacks the root unfortunately)
VIv7,b9 . . 14 14 13 11 (lacks the 9th unfortunately)
VIv6 . . 14 14 16 15 (lacks the 5th unfortunately)
VIvm7(b5) . . 14 12 11 11
Vv7 . 17 17 16 14 .
coda chords: Iv7 . 5 . 4 2 6
vbVII^m7 . 1 0 0 2 1 (lacks the 7th unfortunately, I ran out of frets)
vbIII^7 . . 3 4 2 1
Vv7 3 . 2 0 4 (3)
Triadic Etude
Crappy midi demo in vA: https://soundcloud.com/mbirakite/triadic-etude
Key: A downminor
vbVI^ Ivm vbVI^ Ivm
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - |
| - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - |
5 | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - 5 |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - |
IVvm bVIIv IVv7
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - 9 - - - 9 - | - - 9 - - - 9 - | - - 5 - - - 5 - | - - 5 - - - 5 - |
| - 7 - 7 - 7 - 7 | - 10- 10- 10- 10| - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - |
| 6 - - - 6 - - - |10 - - - 10- - - | 8 - - - - - - - | 8 - - - - - - 5 |
| - - - - - - - - | - - - - - - - - | - - - - 8 - - - | - - - - 8 - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
IVvm bVIIv Iv Ivdim
| - - - - - - - - | - - - - - - - - | - - 6 - - - 6 - | - - 4 - - - 4 - |
| - - 9 - - - 9 - | - - 9 - - - 9 - | - 7 - 7 - 7 - 7 | - 5 - 5 - 5 - 5 |
| - 7 - 7 - 7 - 7 | - 10- 10- 10- 10| 7 - - - 7 - - - | 7 - - - 7 - - - |
| 6 - - - 6 - - - |10 - - - 10- - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
vbVII^ vbVII^m Vvdim vbIII^9
| - - 2 - - - 2 - | - - 2 - - - 2 - | - - - - - - - - | - - - - 2 - - - |
| - 4 - 4 - 4 - 4 | - 2 - 2 - 2 - - | - - 2 - - - 2 - | - - - 2 - 2 - - |
| 3 - - - 3 - - - | 3 - - - 3 - - 3 | - 3 - 3 - 3 - - | - - 3 - - - 3 - |
| - - - - - - - - | - - - - - - - - | 5 - - - 5 - - 5 | - 5 - - - - - 5 |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | 4 - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
vbVI^ Ivm vbVI^ Ivm
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - - - |
| - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - - - - |
| 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - |
Chords:
vF^ Avm vF^ Avm Dvm Gv Dv7 / Dvm Gv Av Avdim vG^ vG^m Evdim vC^9 vF^ Avm vF^ Avm
Blues in G
Loosely based on Lance Vallis' solo guitar piece in G
http://lancevallis.tripod.com/webonmediacontents/Solo%20Blues%20in%20G%20II.pdf
https://www.youtube.com/watch?v=Q7a4yHGSiAI
But I Africanized it by syncopating the bass, and by changing chords early, before the bar line. And I changed the melodies, because IMO simply transposing everything up a 4th on the IV chord is too predictable. Warning: the repeat signs do NOT line up with the bar lines! The feel should be swingy, to make the syncopation obvious.
& a 4 e & a 1 e & a 2 e & a 3 e
5 vb7 v6 b5 5
5 vb7 1 vb7 5 1 5 1 4 1 vb3 v3
// v3 \\
|| - - - - - - | - - - - - - - - | - - ||
|| - - - - - - | - - - 11* - - - - | - - || 4x
|| - - 13 - - - | - - - 13* - - 16 - |11 13* ||
|| - - - - - - | - - - 14* - - 16 - |12 14* ||
|| - 10 14 10 - - | - - - - - 14 - 14 | - - ||
||12 - - - 12 0 | - - - - - - - - | - - ||
\\ * slide up //
8 vb7 vb6 v6
5 v6 vb3 1 vb6 4 v6 1 5 1 ~2 vb3
// vb3 \\
|| - - - - - - | - - - - - - - - | - - ||
|| - - - - - - | - - - 15* - - 11 - | - - || 2x
|| - - - - - - | - - - 16* - - 13 - |14 16* ||
|| - - 12 - 0 - | - - - 12* - - - - |10 12* || (last 12 could be 16)
|| - - - 14 - 2 | - - - - - 14 - 14 | - - ||
||12 15 - - - - | - - - - - - - - | - - ||
\\ //
back to the 1st riff 2x
9 8 vb7 v7
b2 2 v4 2 vb7 5 v7 1 v6 1 b5 5
// v4 \\
|| - - - - - - | - - - 12* - - - - | - - ||
|| - - - - - - | - - - 13* - - 15 - | - - || 1x
|| - - 9 - - - | - - - 9* - - 16 - |11 13* ||
|| 9 11 - 11 - - | - - - - - - - - |11 13* ||
|| - - - - 10 - | - - - - - 14 - 14 | - - ||
|| - - - - - 12 | - - - - - - - - | - - ||
\\ //
2nd riff 1x
1st riff 2x
II-V-I riff in A downmajor
Play with a Bossa Nova feel. When translating IIm7 - V7 - IM7, I don't like to use a Vv7 chord, because it sounds to me more resolved than the IvM7. The I chord doesn't feel like the final chord, and the progression feels incomplete. I much prefer V^7 when resolving to IvM7.
II^m7 V^7 IvM7 Iv,^7 Iv7 | - - 3 - - 3 - - | - 4 - - 4 - 4 - | - - 6 - 6 6 - 6 | - 6 - - 6 - 6 - | | - - 1 - - 1 - - | - 5 - - 5 - 5 - | - - 7 - 7 7 - 5 | - 5 - - 5 - 5 - | | - - 2 - - 2 - - | - 6 - - 6 - 6 - | - - 5 - 5 5 - 4 | - 4 - - 3 - 3 - | | - - - - - - - 5 | - - - 5 - - - - | - - - - - - - - | - - - - - - - - | | 3 - - - 3 - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | - - - - - - - - | - - - - - - - - | 6 - - - - - - - | - - - 6 - - - - |
The Relative Song
So-called because it switches between relative major and minor. No roman numerals because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression.
Each column is a 16th note. Play uptempo. It has nice long pauses after the chromatic bass runs, plenty of time to get your fingers in place for the strumming. Just for fun, you can start on the ^G chord or even the ^D chord.
// ^C^m7 ^F^7 1,2-----\\ 3-------\\
(3x) || - - - - 5 - 5 5 | - 5 5 - - - - - | - - - - 5 - 5 5 | - 5 5 - - - - - || - - - - ||
|| - - - - 3 - 3 3 | - 3 3 - - - - - | - - - - 6 - 6 6 | - 6 6 - - - - - || - - - - ||
|| - - - - 4 - 4 4 | - 4 4 - - - - - | - - - - 8 - 8 8 | - 8 8 - - - - - || - - - - ||
|| - - - - - - - - | - - - - 5 - 6 - | 7 - - - 7 - 7 7 | - 7 7 - - - - - || 7 - - - ||
3 - 4 - || 5 - - - 5 - 5 5 | - 5 5 - - - - - | - - - - - - - - | - - - - 3 - 4 - || - - 8 - ||
|| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - || - - - - ||
\\ // //
// ^Bbv7 ^Ebv7 1,2-----\\ 3-------\\
(3x) || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - || - - - - ||
|| - - - - 9 - 9 9 | - 9 9 - - - - - | - - - - 7 - 7 7 | - 7 7 - - - - - || - - - - ||
|| - - - - 5 - 5 5 | - 5 5 - - - - - | - - - - 9 - 9 9 | - 9 9 - - - - - || - - - - ||
|| - - - - 7 - 7 7 | - 7 7 - - - - - | - - - -10 -10 10| -10 10- - - - - || - - - - ||
|| - - - - - - - - | - - - - - - 9 - |10 - - -10 -10 10| -10 10- - - - - || 10- - - ||
|| 8 - - - 8 - 8 8 | - 8 8 - 8 - - - | - - - - - - - - | - - - - 10- 9 - || - - - - ||
\\ // //
^D^7 ^Gv7
(once) | - - - - 0 - 0 0 | - 0 0 - 0 - 0 - | - - 3 - 3 - 3 3 | - - - - - - - - |
| - - - - 1 - 1 1 | - 1 1 - 1 - 1 - | - - 4 - 4 - 4 4 | - - - - - - - - |
| - - - - 3 - 3 3 | - 3 3 - 3 - 3 - | - - 0 - 0 - 0 0 | - - - - - - - - |
| 2 - - - 2 - 2 2 | - 2 2 - 2 - 2 - | - - 2 - 2 - 2 2 | - - - - - - - - |
| - - - - 0 - 0 0 | - 0 0 - 0 - 0 - | - - - - - - - - | - - - - 3 - 4 - |
| - - - - - - - - | - - - - - - - - | 3 - 3 - 3 - 3 3 | - - - - - - - - |
Chords:
^C^m7 ^F^7 (3x) ^Bbv7 ^Ebv7 (3x) ^D^7 ^Gv7
The Walking Song
This song pumps the Zo comma, which maps to an entire fret. Start in Ab (6th string of 6, 1st dot) and slowly march up the fretboard. When you reach the 4th dot, you can continue by jumping down to the 4th string, 3rd fret.
Iv7 IVv7 vbIII^m7 ^^Vv7 ^^Iv7 ~IVv7 ^bIII^m7 #Vv7 #Iv7 #IVv7 vIII^m7 ^^#Vv7 etc.
Use this bass line to connect the chord roots. Play the full chords during the "...".
5 v3 1 ... 1 vb3 4 ... 4 v3 vb3 ... vb3 b3 ^^5 ... ^^5 ^3 ^^1 ...
Some people simply don't hear the rapid upwards tonic drift until it's pointed out to them. Even after becoming aware of it, it still feels incredibly jarring to go from the ^^V chord to a I chord. The ear insists on hearing the ^^V chord as a V chord, and it insists on the ^^I chord coming next.
Latrizo Pump
The Latrizo comma divides the 5th into three up-2nds. This riff marches up to the 5th and swoops back down. This song can't be translated to 12edo, as the video shows.
https://www.youtube.com/watch?v=xsIqxLeMzng
Iv7 ^IIv7 vIVv7 Vv7
Use this bass line to connect the chord roots. Play the full chords during the "...".
1 ... 1 ^b2 ^2 ... ^2 ~3 v4 ... v4 b5 5 ... 5 --> 1 (slide down)