Kite Guitar translations by Kite Giedraitis: Difference between revisions
moved "Old Kentucky Home" from here to Aaron's translations page |
added "Love Is A Losing Game" |
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| Line 125: | Line 125: | ||
2 - - - | - - 14 - | 14 - - 14 | - - 14 - | 2 - - - | - - 14 - | 14 - - 14 | - - 14 - | ||
- - - 0 | - - - - | 15 - - 12 | - - - - | - - - 0 | - - - - | 15 - - 12 | - - - - | ||
</tt> | </tt> | ||
This lacks the droning open string sound of the original. The solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. <b>Bolded</b> notes are capo'ed: | This lacks the droning open string sound of the original. The solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. <b>Bolded</b> notes are capo'ed: | ||
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^^bVIv ^^bIIIv ^IV^m Vv7 | ^^bVIv ^^bIIIv ^IV^m Vv7 | ||
</tt> | </tt> | ||
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. | 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. | ||
| Line 162: | Line 164: | ||
^bVIv ^bIIIv IV^m Vv7 | ^bVIv ^bIIIv IV^m Vv7 | ||
</tt> | </tt> | ||
The chorus is straightforward: | The chorus is straightforward: | ||
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| | | | ||
Bbv vA^m vD^m7 / | Gv7 / Cv7 / | Bbv vA^m vD^m7 / | Gv7 / Cv7 / | ||
</tt> | </tt> | ||
=== Love Is A Losing Game (Amy Winehouse) === | |||
Source for the chords: https://www.youtube.com/watch?v=l3NN5jywLBs | |||
<tt> | |||
intro: F^dim7 | |||
main: CvM7 Fv/G F^m7 CvM7 (2x) | |||
vA^m7 vD^m7 F^m7 CvM7 | |||
CvM7 Fv/G F^m7 CvM7 | |||
F^dim7 G#vdim7 | |||
</tt> | |||
<tt> | |||
intro: IV^dim7 | |||
main: IvM7 IVv/2 IV^m7 IvM7 (2x) | |||
vVI^m7 vII^m7 IV^m7 IvM7 | |||
IvM7 IVv/2 IV^m7 IvM7 | |||
IV^dim7 #Vvdim7 | |||
</tt> | |||
No comma pumps, in fact every chord except for the two dim7 chords contains the tonic. The chords are mostly 5-limit. | |||
The IV/2 chord can be thought of as a V11no35 chord. This is an innate-comma chord. The 7th and 11th must make a perfect 5th. The 11th should be plain (8/3). The 9th should too (9/4). It should also be 5/4 above the 7th. Not all of these can be true. This translation uses IVv/2 = V11(v9)no35. The down-9th is a somewhat wolfy 20/9 or 11/5. It's a little awkward to play. It helps to finger the bass note last. Another possibility is ^IVv/v2 = V^9,^11no35 = x3xx110. The wolfy up-11th is 27/10 or 19/7. It causes a pitch shift for the tonic. | |||
There are several possibilities for the two dim7 chords. For the first one, I chose to make the root and 3rd match the IV^m7 chord. For the second one, I chose to keep as many common notes as possible with the previous chord, and to have the 3rd match the 7th of the following chord. | |||
A note-for-note translation to plain C isn't possible because there is no low F on the guitar. So this translation is in ^C downmajor, for a 7-string guitar in low-7 tuning. | |||
<tt> | |||
^F^dim7 . 20 . 17 16 20 . | |||
^CvM7 . . 5 . 4 4 6 | |||
^Fv/^G . 3 . 7 7 6 . | |||
^F^m7 6 . . 4 6 6 . | |||
^CvM7 (as before) | |||
A^m7 . 6 . . 4 6 6 | |||
D^m7 . . 8 . 7 6 8 | |||
^F^m7 (as before) | |||
^CvM7 (as before) | |||
^F^dim7 (as before) | |||
^G#vdim7 . . 19 . 16 14 18 | |||
</tt> | |||
The picking pattern: | |||
<tt> | |||
- - 6 - | - 6 - - | - - - - | - - - - | |||
- - 4 - | - 4 - - | - - 6 - | - 6 - - | |||
- 4 - - | - 4 - - | - - 7 - | - 7 - - etc. | |||
- - - - | - - - - | - 7 - - | - 7 - - | |||
5 - - 5 | 5 - - - | - - - - | - - - - | |||
- - - - | - - - - | 3 - - 3 | 3 - - - | |||
- - - - | - - - - | - - - - | - - - - | |||
</tt> | |||
| Line 538: | Line 611: | ||
| | | | ||
Gv7 / Cv7 / | Gv7 / Dvaug / | Gv7 / Cv7 / | Gv7 / Dvaug / | ||
</tt> | </tt> | ||
In relative notation: | In relative notation: | ||
| Line 597: | Line 671: | ||
FvM7 Bvm7(b5) Esus4 Ev7 | FvM7 Bvm7(b5) Esus4 Ev7 | ||
</tt> | </tt> | ||
In relative notation: | In relative notation: | ||
| Line 836: | Line 911: | ||
A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | ||
</tt> | </tt> | ||
Relative notation: | Relative notation: | ||