Kite Guitar: Difference between revisions

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Kite, Aaron and Caleb Ramsey with Jacob after his June 2019 show in Portland, on the sidewalk outside the venue.

[[File:Jacob Collier with a Kite Guitar 6-26-19.jpg|none|thumb]]

~~== For Luthiers ==~~

~~'''Fret and Marker Placement'''~~

To place the frets on a Kite guitar, simply replace the 12th root of 2 = 1.059463 with the 41st root of 4 = 1.034390. Or purchase a pre-slotted fingerboard from [https://precisionpearl.com/ PrecisionPearl.com]. It comes radiused, tapered and inlaid, so all you need to do is glue it on and put in the frets. Replacing 24 old frets makes 41 new frets, but the last few are very tightly spaced. One might instead replace 21 old frets to make 36 new frets. Every 4th fret has a dot (fretboard marker), and every 12th fret has a double dot. Thus a 36-fret guitar is a 9-dot guitar.

~~'''String Gauges'''~~

A 6-string Kite guitar can be strung with a standard set of strings, but it's not ideal. The high strings will be somewhat slack, and the low strings will be somewhat tight. To find the appropriate gauges, use the D'Addario method: calculate each string's tension from its unit weight, length and pitch (frequency) by the formula T = (UW x (2 x L x F)2) / 386.4. For open strings, the length is the guitar's scale. The frequency in hertz of the Nth string of 8 strings is 440 * (2 ^ (-7/12 + (21 - 13*N) / 41)). For a 6-string guitar, N ranges from 2 to 7. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). D'Addario has [https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf published] their unit weights, thus the individual tensions can be calculated for a given set of strings. One can work backwards from this and select string gauges/types that give uniform tensions using this spreadsheet: http://tallkite.com/misc_files/StringTensionCalculator.ods The desired tension depends on the instrument, and of course personal taste. A steel-string acoustic guitar might have 25-30 lbs. tension for each string. A 12edo 25.5" electric guitar strung with a standard 10-46 set has 15-20 lbs. With a 9-42 set it has 13-16 lbs.

* A longer scale means a higher tension or a smaller gauge or a lower pitch (frequency)

* A higher tension means a longer scale or a bigger gauge or a higher pitch

* A bigger gauge means a shorter scale or a higher tension or a lower pitch

* A higher pitch means a shorter scale or a higher tension or a smaller gauge

Microtonalist and luthier Tom WInspear can provide custom string sets at his website [https://www.winspearinstrumental.com/ www.winspearinstrumental.com]. His approach is to extrapolate from familiar string sets. He says this about string gauges: "Gauges can be scaled at the same ratios as frequency. A 41-edo downmajor 3rd is 2^(13/41) = 1.2458, thus from string to string the gauge changes by 24.58%. But you can't do that across the plain to wound transition. To tune to different keys, increase the gauges by 5.95% for each 12-edo semitone of transposition, or 1.705% for each 41-edostep. All this assumes a 25.5" scale. For a scale of S inches, multiply each gauge by 25.5/S and round off. For scales longer than 25.5", err on the side of heavier and round up, as longer scales do feel more flexible loaded with the same tension. Likewise, for scales less than 25.5", err on the side of lighter and round down. However, the plain strings should always be rounded slightly down, and should utilize .0005" increment plain strings where available."

www.JustStrings.com sells custom gauges singly or in bulk. Recommended (somewhat light) gauges for a 27" acoustic guitar: '''11.5 15 18 24 30 36 46 56''' (3 plain, 5 wound). For a 25.5" or 26.5" electric: '''10 13 16 22 26 32 42 52''', the wound 4th string could instead be a '''19''' plain.

~~'''Saddle and Nut Compensation'''~~

'''Method #1:''' To find the saddle compensation on a standard guitar, one compares the harmonic at the 12th fret with the fretted note at the 12th fret. For the Kite guitar, by a weird coincidence, one does the same! But the 12th fret now makes the 3rd harmonic, not the 2nd. Thus the two notes should be an octave apart, not a unison. If using a tuner, this is not a problem. But if using your ear, a unison is easier to hear than an octave. To get a unison, when you fret the string, play the 2nd harmonic with your other hand. With your forefinger or middle finger, touch the string midway between the 32nd and 33rd frets. Then stretch your hand and pluck with your thumb as close as you can get to the midpoint between your finger and the bridge. If this isn't feasible (e.g. with a bass guitar), you can capo the string at the 12th fret and use both hands to play the harmonic. And to be extremely precise, the fretted note should be 0.48¢ sharper than the harmonic. The 3rd harmonic is 701.96¢ and the 41-edo interval is 702.44¢.

On a standard guitar, there's a formula for saddle compensation. Move the saddle point back by about 0.015" for every cent that the 12th fret note is sharp of the open string's 2nd harmonic. The 0.015" figure is more precisely the scale length times ln(2)/1200, which is scaleLength/1731. Saddle compensation flattens the 12th fret note twice as much as the open string note. So if the 12th fret note is 3¢ sharp, flattening the open string note by 3¢ (about 0.045") flattens the 12th fret note by 6¢, and the interval between them is flattened by 3¢ to an exact octave.

On a Kite guitar, the scaleLength/1731 formula still holds. But saddle compensation affects the 12th fret note only one and a half times as much as the open string note. Hence for each cent of sharpness, one must flatten by two cents. For example, suppose the 12th fret note is 2¢ sharp of the 3rd harmonic. It's supposed to be 0.48¢ sharp, so the actual sharpness is only 1.5¢. (In practice, if one's tuner isn't this accurate, one might simply round down a bit.) Move the saddle point back by twice this, 3¢ or 0.045". This will flatten the open string by 3¢ and the 12th fret note by 4.5¢, narrowing the interval by 1.5¢ to an exact 41-edo 5th. On the saddle, mark a point 0.045" behind the exit point, and file up to the mark.

'''Method #2:''' The first method serves as a rough check of the saddle points. But it's much safer to check multiple frets. [http://tallkite.com/KiteGuitar/KiteGuitarNotes.pdf This table] has the pitch of every single note on the fretboard. The 2nd page omits some redundant information to make room to pencil in discrepancies in cents. But the open strings aren't reliable, because the nut is not yet compensated (nut compensation must be done after saddle compensation). Use a capo to remove the nut issue. Capo the string at the 1st fret (or 2nd or 3rd, if the capo doesn't fit your 8-string very well). Tune the capo'ed string to the table, then compare the other frets to the table. Important: do not remove the capo during this process, as that will change the tension, and thus the pitch. It's usually sufficient to check every 4th fret, i.e. every dot. Look for the general trend. If the saddle point is too far back, the higher frets will be increasingly flat. Too far forward, and they will trend sharp. If there's an outlier that breaks the pattern, check its neighboring frets. No guitar is perfect. If some frets are sharp and some equally flat, that's the best you can get. Once you find the trend, estimate how much cents error would be expected at the 5th dot, which is almost an octave. That's roughly how many cents to compensate by. (To be super-precise, you could increase the cents by about 3%, so that 6¢ becomes 6.2¢.) Compensate as in method #1 with the scaleLength/1731 formula.

'''Nut compensation''' can be done similarly to a standard guitar, by comparing the open string to the fretted notes. But since the Kite guitar is so much more in tune, extra care might be taken here. One can shorten the fingerboard by around 0.030" (more if the nut action is high) to slightly overcompensate, then de-compensate empirically by filing the front of the nut to move the exit points back. One can determine the exact amount to file by finding the sharpness in cents with a tuner, then using the scaleLength/1731 formula. The front of the nut can be filed lengthwise to move all the exit points at once, or up and down to move individual exit points.

'''Final notes:''' 1) String gauges can affect compensation, so try to choose the correct gauges first. 2) One can avoid nut compensation by using a zero fret. 3) Electric guitars have easily adjustable saddles. Here's an adjustable saddle for acoustic guitars: https://www.portlandguitar.com/collections/bridges They also offer adjustable nuts.

~~For more on saddle and nut compensation, see~~

* https://www.doolinguitars.com/intonation/intonation4.html (Mike Doolin)

* http://schrammguitars.com/intonation.html (John and William Gilbert)

* https://www.proguitar.com/academy/guitar/intonation/byers-classical (Greg Byers)

== About 41-EDO ==

[[41-edo]] approximates just intonation very closely. Prime 3 is extremely accurate, and primes 5 and 7 are both flat, which means their errors partially cancel out in ratios such as 7/5. Unfortunately prime 11 is sharp, so the errors add up, and 11/10 is nearly 11¢ sharp.

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Tuning the Kite guitar to EADGBE doesn't work, because the conventional chord shapes create wolves. For example, the usual E major chord shape 0 2 2 1 0 0 would translate to either 0 3 3 2 0 0 = E vB vE G# B E, or else 0 4 4 2 0 0 = E ^B ^E G# B E. Either way, the chord contains three wolf octaves and two wolf fifths. In addition, the major 3rd isn't 5/4 but 81/64.

The standard tuning is the '''downmajor tuning''', in which adjacent open strings are tuned a downmajor 3rd apart. Alternative tunings use an upminor 3rd or an upmajor 3rd~~. All three tunings are isomorphic, thus there is only one shape to learn for any chord~~. A "semi-isomorphic" tuning alternates downmajor and upminor 3rds, and every chord has two shapes. In addition, there are open tunings such as DADGAD.

There are two main types of tunings. '''Isomorphic tunings''' in 3rds lets you play 7-limit chords and chord progressions, and explore the 7-limit lattice. '''Open tunings''' let you explore the 13-limit tonality diamond.

Isomorphic means "same shape", and there is only one shape to learn for any chord. The standard isomorphic tuning is the '''downmajor tuning''', in which adjacent open strings are tuned a downmajor 3rd apart. Alternative isomorphic tunings use an upminor 3rd or an upmajor 3rd. A semi-isomorphic tuning alternates downmajor and upminor 3rds, and every chord has two shapes. In addition, there are open tunings such as DADGAD.

* [http://tallkite.com/misc_files/The%20Kite%20Tuning%20downmajor%20fretboard.pdf Fretboard chart for the downmajor tuning] (tuning chart at the bottom needs updating, the low note is vD not D)

* [http://tallkite.com/misc_files/The%20Kite%20Tuning%20upminor%20fretboard.pdf Fretboard chart for the upminor tuning] (the tuning chart at the bottom needs updating, the low note is vD not D)

* [http://tallkite.com/misc_files/The%20Kite%20Tuning%20DADGAD%20fretboard.pdf Fretboard chart for the DADGAD tuning]

Open tunings become more playable with the use of a "half-fret capo". From Jason Yerger's liner notes (see the "Recordings" section):

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More scales are discussed here:

* [[The_Kite_Guitar_Scales|The Kite Guitar Scales]] (practical guide)

* [[Kite Giedraitis's Categorizations of 41edo Scales|Scales on the Kite Guitar]] (theoretical background)

* [[Kite Giedraitis's Categorizations of 41edo Scales|Scales on the Kite Guitar]] (theoretical background, the 5 categories of scales)

== Relative and Absolute Tab ==

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The Kite guitar can be tuned to a specific pitch using the [http://tallkite.com/misc_files/EDOtuner.txt EDOtuner] (text file, right click and "save as..."), a free strobe tuner for microtonal guitars (requires [https://www.reaper.fm/ Reaper] or [https://www.reaper.fm/reaplugs/ ReaJS]). Presets for the Kite guitar can be found here: http://tallkite.com/misc_files/js-MIDI_EDOtuner_txt.ini In Reaper, select Options/Show REAPER Resource Path and put the .ini file in the Presets folder.

== For Luthiers ==

'''Fret and Marker Placement'''

To place the frets on a Kite guitar, simply replace the 12th root of 2 = 1.059463 with the 41st root of 4 = 1.034390. Or purchase a pre-slotted fingerboard from [https://precisionpearl.com/ PrecisionPearl.com]. It comes radiused, tapered and inlaid, so all you need to do is glue it on and put in the frets. Replacing 24 old frets makes 41 new frets, but the last few are very tightly spaced. One might instead replace 21 old frets to make 36 new frets. Every 4th fret has a dot (fretboard marker), and every 12th fret has a double dot. Thus a 36-fret guitar is a 9-dot guitar.

'''String Gauges'''

A 6-string Kite guitar tuned in 3rds can be strung with a standard set of strings, but it's not ideal. The high strings will be somewhat slack, and the low strings will be somewhat tight. To find the appropriate gauges, use the D'Addario method: calculate each string's tension from its unit weight, length and pitch (frequency) by the formula T = (UW x (2 x L x F)2) / 386.4. For open strings, the length is the guitar's scale. The frequency in hertz of the Nth string of 8 strings tuned in the standard downmajor 3rds with a low string of vD is 440 * (2 ^ (-7/12 + (21 - 13*N) / 41)). For a 6-string guitar, N ranges from 2 to 7. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). D'Addario has [https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf published] their unit weights, thus the individual tensions can be calculated for a given set of strings. One can work backwards from this and select string gauges/types that give uniform tensions using this spreadsheet: http://tallkite.com/misc_files/StringTensionCalculator.ods The desired tension depends on the instrument, and of course personal taste. A steel-string acoustic guitar might have 25-30 lbs. tension for each string. A 12edo 25.5" electric guitar strung with a standard 10-46 set has 15-20 lbs. With a 9-42 set it has 13-16 lbs.

* A longer scale means a higher tension or a smaller gauge or a lower pitch (frequency)

* A higher tension means a longer scale or a bigger gauge or a higher pitch

* A bigger gauge means a shorter scale or a higher tension or a lower pitch

* A higher pitch means a shorter scale or a higher tension or a smaller gauge

Microtonalist and luthier Tom WInspear can provide custom string sets at his website [https://www.winspearinstrumental.com/ www.winspearinstrumental.com]. His approach is to extrapolate from familiar string sets. He says this about string gauges: "Gauges can be scaled at the same ratios as frequency. A 41-edo downmajor 3rd is 2^(13/41) = 1.2458, thus from string to string the gauge changes by 24.58%. But you can't do that across the plain to wound transition. To tune to different keys, increase the gauges by 5.95% for each 12-edo semitone of transposition, or 1.705% for each 41-edostep. All this assumes a 25.5" scale. For a scale of S inches, multiply each gauge by 25.5/S and round off. For scales longer than 25.5", err on the side of heavier and round up, as longer scales do feel more flexible loaded with the same tension. Likewise, for scales less than 25.5", err on the side of lighter and round down. However, the plain strings should always be rounded slightly down, and should utilize .0005" increment plain strings where available."

www.JustStrings.com sells custom gauges singly or in bulk. Recommended (somewhat light) gauges for a 27" acoustic guitar: '''11.5 15 18 24 30 36 46 56''' (3 plain, 5 wound). For a 25.5" or 26.5" electric: '''10 13 16 22 26 32 42 52''', the wound 4th string could instead be a '''19''' plain.

'''Saddle and Nut Compensation'''

'''Method #1:''' To find the saddle compensation on a standard guitar, one compares the harmonic at the 12th fret with the fretted note at the 12th fret. For the Kite guitar, by a weird coincidence, one does the same! But the 12th fret now makes the 3rd harmonic, not the 2nd. Thus the two notes should be an octave apart, not a unison. If using a tuner, this is not a problem. But if using your ear, a unison is easier to hear than an octave. To get a unison, when you fret the string, play the 2nd harmonic with your other hand. With your forefinger or middle finger, touch the string midway between the 32nd and 33rd frets. Then stretch your hand and pluck with your thumb as close as you can get to the midpoint between your finger and the bridge. If this isn't feasible (e.g. with a bass guitar), you can capo the string at the 12th fret and use both hands to play the harmonic. And to be extremely precise, the fretted note should be 0.48¢ sharper than the harmonic. The 3rd harmonic is 701.96¢ and the 41-edo interval is 702.44¢.

On a standard guitar, there's a formula for saddle compensation. Move the saddle point back by about 0.015" for every cent that the 12th fret note is sharp of the open string's 2nd harmonic. The 0.015" figure is more precisely the scale length times ln(2)/1200, which is scaleLength/1731. Saddle compensation flattens the 12th fret note twice as much as the open string note. So if the 12th fret note is 3¢ sharp, flattening the open string note by 3¢ (about 0.045") flattens the 12th fret note by 6¢, and the interval between them is flattened by 3¢ to an exact octave.

On a Kite guitar, the scaleLength/1731 formula still holds. But saddle compensation affects the 12th fret note only one and a half times as much as the open string note. Hence for each cent of sharpness, one must flatten by two cents. For example, suppose the 12th fret note is 2¢ sharp of the 3rd harmonic. It's supposed to be 0.48¢ sharp, so the actual sharpness is only 1.5¢. (In practice, if one's tuner isn't this accurate, one might simply round down a bit.) Move the saddle point back by twice this, 3¢ or 0.045". This will flatten the open string by 3¢ and the 12th fret note by 4.5¢, narrowing the interval by 1.5¢ to an exact 41-edo 5th. On the saddle, mark a point 0.045" behind the exit point, and file up to the mark.

'''Method #2:''' The first method serves as a rough check of the saddle points. But it's much safer to check multiple frets. [http://tallkite.com/KiteGuitar/KiteGuitarNotes.pdf This table] has the pitch of every single note on the fretboard. The 2nd page omits some redundant information to make room to pencil in discrepancies in cents. But the open strings aren't reliable, because the nut is not yet compensated (nut compensation must be done after saddle compensation). Use a capo to remove the nut issue. Capo the string at the 1st fret (or 2nd or 3rd, if the capo doesn't fit your 8-string very well). Tune the capo'ed string to the table, then compare the other frets to the table. Important: do not remove the capo during this process, as that will change the tension, and thus the pitch. It's usually sufficient to check every 4th fret, i.e. every dot. Look for the general trend. If the saddle point is too far back, the higher frets will be increasingly flat. Too far forward, and they will trend sharp. If there's an outlier that breaks the pattern, check its neighboring frets. No guitar is perfect. If some frets are sharp and some equally flat, that's the best you can get. Once you find the trend, estimate how much cents error would be expected at the 5th dot, which is almost an octave. That's roughly how many cents to compensate by. (To be super-precise, you could increase the cents by about 3%, so that 6¢ becomes 6.2¢.) Compensate as in method #1 with the scaleLength/1731 formula.

'''Nut compensation''' can be done similarly to a standard guitar, by comparing the open string to the fretted notes. But since the Kite guitar is so much more in tune, extra care might be taken here. One can shorten the fingerboard by around 0.030" (more if the nut action is high) to slightly overcompensate, then de-compensate empirically by filing the front of the nut to move the exit points back. One can determine the exact amount to file by finding the sharpness in cents with a tuner, then using the scaleLength/1731 formula. The front of the nut can be filed lengthwise to move all the exit points at once, or up and down to move individual exit points.

'''Final notes:''' 1) String gauges can affect compensation, so try to choose the correct gauges first. 2) One can avoid nut compensation by using a zero fret. 3) Electric guitars have easily adjustable saddles. Here's an adjustable saddle for acoustic guitars: https://www.portlandguitar.com/collections/bridges They also offer adjustable nuts.

For more on saddle and nut compensation, see

* https://www.doolinguitars.com/intonation/intonation4.html (Mike Doolin)

* http://schrammguitars.com/intonation.html (John and William Gilbert)

* https://www.proguitar.com/academy/guitar/intonation/byers-classical (Greg Byers)

== Translating 12-edo Songs to 41-edo ==

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. Generally the translated version is an improvement, because it's so well tuned.

One way to translate a conventional song is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use the spiral charts in the "About 41-edo" section.

One way to translate a conventional song is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]], [[1029/1024|Latrizo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use the spiral charts in the "About 41-edo" section.

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.

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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.

For rapid comma pumps of only two measures, a shift halfway through the pump is often best. See Kite's translation of "I Will".

For rapid comma pumps of only two measures, a shift halfway through the pump is often best. See [[Song Translations by Kite Giedraitis to The Kite Guitar#I Will .28The Beatles.29|Kite's translation of "I Will"]].

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.

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In much music, especially pre-20th-century music, the dissonance of the dom7 chord is what drives the V7 - I cadence and gives the music momentum. But 41-edo's smooth v7 chord is like a guard dog that smiles and wags its tail at strangers instead of barking. It's too relaxed! And the 7-limit intervals can sound out of place in a pre-20th-century context. One might instead use Vv,7 (down add-7, with a plain minor 7th) or Vv,^7 (down up-7, with an upminor 7th). For example, Am - G - F - E7 can be translated as A^m - ^Gv - ^Fv - Ev,^7. (This also avoids a pitch shift.)

For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so ~~the latter progression feels~~ unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.

For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so both progressions feel unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.

However, if the I chord has no 7th, either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv ~~works well~~. The IIvm7 chord is more connected to the V chord than II^m7. ~~This~~ also works if the I chord has a minor 7th, i.e. Iv7.

However, if the I chord has no 7th, Vv7 works well, and the progression can be tuned either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv. The IIvm7 chord is more connected to the V chord than II^m7. The Vv7 chord also works if the I chord has a minor 7th, i.e. Iv7.

Actual song translations are on separate xenwiki pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here! If you're ~~translating~~ a song that's already been translated, please link both translations to each other.

Actual song translations are on separate xenwiki pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here! If you're providing an alternate translation of a song that's already been translated, please link both translations to each other.

=== [[Song_Translations_by_Kite_Giedraitis_to_The_Kite_Guitar|Song Translations by Kite Giedraitis to The Kite Guitar]] ===

@@ Line 45: / Line 45: @@
 Kite, Aaron and Caleb Ramsey with Jacob after his June 2019 show in Portland, on the sidewalk outside the venue.
 [[File:Jacob Collier with a Kite Guitar 6-26-19.jpg|none|thumb]]
-== For Luthiers ==
-'''<u>Fret and Marker Placement</u>'''
-To place the frets on a Kite guitar, simply replace the 12th root of 2 = 1.059463 with the 41st root of 4 = 1.034390. Or purchase a pre-slotted fingerboard from [https://precisionpearl.com/ PrecisionPearl.com]. It comes radiused, tapered and inlaid, so all you need to do is glue it on and put in the frets. Replacing 24 old frets makes 41 new frets, but the last few are very tightly spaced. One might instead replace 21 old frets to make 36 new frets. Every 4th fret has a dot (fretboard marker), and every 12th fret has a double dot. Thus a 36-fret guitar is a 9-dot guitar.
-'''<u>String Gauges</u>'''
-A 6-string Kite guitar can be strung with a standard set of strings, but it's not ideal. The high strings will be somewhat slack, and the low strings will be somewhat tight. To find the appropriate gauges, use the D'Addario method: calculate each string's tension from its unit weight, length and pitch (frequency) by the formula T =  (UW  x (2 x L x F)<sup>2</sup>) / 386.4. For open strings, the length is the guitar's scale. The frequency in hertz of the Nth string of 8 strings is 440 * (2 ^ (-7/12 + (21 - 13*N) / 41)). For a 6-string guitar, N ranges from 2 to 7. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). D'Addario has [https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf published] their unit weights, thus the individual tensions can be calculated for a given set of strings. One can work backwards from this and select string gauges/types that give uniform tensions using this spreadsheet: http://tallkite.com/misc_files/StringTensionCalculator.ods The desired tension depends on the instrument, and of course personal taste. A steel-string acoustic guitar might have 25-30 lbs. tension for each string. A 12edo 25.5" electric guitar strung with a standard 10-46 set has 15-20 lbs. With a 9-42 set it has 13-16 lbs.
-* A longer scale means a higher tension or a smaller gauge or a lower pitch (frequency)
-* A higher tension means a longer scale or a bigger gauge or a higher pitch
-* A bigger gauge means a shorter scale or a higher tension or a lower pitch
-* A higher pitch means a shorter scale or a higher tension or a smaller gauge
-Microtonalist and luthier Tom WInspear can provide custom string sets at his website [https://www.winspearinstrumental.com/ www.winspearinstrumental.com]. His approach is to extrapolate from familiar string sets. He says this about string gauges: "Gauges can be scaled at the same ratios as frequency. A 41-edo downmajor 3rd is 2^(13/41) = 1.2458, thus from string to string the gauge changes by 24.58%. But you can't do that across the plain to wound transition. To tune to different keys, increase the gauges by 5.95% for each 12-edo semitone of transposition, or 1.705% for each 41-edostep. All this assumes a 25.5" scale. For a scale of S inches, multiply each gauge by 25.5/S and round off. For scales longer than 25.5", err on the side of heavier and round up, as longer scales do feel more flexible loaded with the same tension. Likewise, for scales less than 25.5", err on the side of lighter and round down. However, the plain strings should always be rounded slightly down, and should utilize .0005" increment plain strings where available."
-www.JustStrings.com sells custom gauges singly or in bulk. Recommended (somewhat light) gauges for a 27" acoustic guitar: '''11.5 15 18 24 30 36 46 56''' (3 plain, 5 wound). For a 25.5" or 26.5" electric: '''10 13 16 22 26 32 42 52''', the wound 4th string could instead be a '''19''' plain.
-'''<u>Saddle and Nut Compensation</u>'''
-'''Method #1:''' To find the saddle compensation on a standard guitar, one compares the harmonic at the 12th fret with the fretted note at the 12th fret. For the Kite guitar, by a weird coincidence, one does the same! But the 12th fret now makes the 3rd harmonic, not the 2nd. Thus the two notes should be an octave apart, not a unison. If using a tuner, this is not a problem. But if using your ear, a unison is easier to hear than an octave. To get a unison, when you fret the string, play the 2nd harmonic with your other hand. With your forefinger or middle finger, touch the string midway between the 32nd and 33rd frets. Then stretch your hand and pluck with your thumb as close as you can get to the midpoint between your finger and the bridge. If this isn't feasible (e.g. with a bass guitar), you can capo the string at the 12th fret and use both hands to play the harmonic. And to be extremely precise, the fretted note should be 0.48¢ sharper than the harmonic. The 3rd harmonic is 701.96¢ and the 41-edo interval is 702.44¢.
-On a standard guitar, there's a formula for saddle compensation. Move the saddle point back by about 0.015" for every cent that the 12th fret note is sharp of the open string's 2nd harmonic. The 0.015" figure is more precisely the scale length times ln(2)/1200, which is scaleLength/1731. Saddle compensation flattens the 12th fret note twice as much as the open string note. So if the 12th fret note is 3¢ sharp, flattening the open string note by 3¢ (about 0.045") flattens the 12th fret note by 6¢, and the <u>interval</u> between them is flattened by 3¢ to an exact octave.
-On a Kite guitar, the scaleLength/1731 formula still holds. But saddle compensation affects the 12th fret note only one and a half times as much as the open string note. Hence for each cent of sharpness, one must flatten by <u>two</u> cents. For example, suppose the 12th fret note is 2¢ sharp of the 3rd harmonic. It's supposed to be 0.48¢ sharp, so the actual sharpness is only 1.5¢. (In practice, if one's tuner isn't this accurate, one might simply round down a bit.) Move the saddle point back by twice this, 3¢ or 0.045". This will flatten the open string by 3¢ and the 12th fret note by 4.5¢, narrowing the interval by 1.5¢ to an exact 41-edo 5th. On the saddle, mark a point 0.045" behind the exit point, and file up to the mark.
-'''Method #2:''' The first method serves as a rough check of the saddle points. But it's much safer to check multiple frets. [http://tallkite.com/KiteGuitar/KiteGuitarNotes.pdf This table] has the pitch of every single note on the fretboard. The 2nd page omits some redundant information to make room to pencil in discrepancies in cents. But the open strings aren't reliable, because the nut is not yet compensated (nut compensation must be done after saddle compensation). Use a capo to remove the nut issue. Capo the string at the 1st fret (or 2nd or 3rd, if the capo doesn't fit your 8-string very well). Tune the capo'ed string to the table, then compare the other frets to the table. <u>Important</u>: do not remove the capo during this process, as that will change the tension, and thus the pitch. It's usually sufficient to check every 4th fret, i.e. every dot. Look for the general trend. If the saddle point is too far back, the higher frets will be increasingly flat. Too far forward, and they will trend sharp. If there's an outlier that breaks the pattern, check its neighboring frets. No guitar is perfect. If some frets are sharp and some equally flat, that's the best you can get. Once you find the trend, estimate how much cents error would be expected at the 5th dot, which is almost an octave. That's roughly how many cents to compensate by. (To be super-precise, you could increase the cents by about 3%, so that 6¢ becomes 6.2¢.) Compensate as in method #1 with the scaleLength/1731 formula.
-'''Nut compensation''' can be done similarly to a standard guitar, by comparing the open string to the fretted notes. But since the Kite guitar is so much more in tune, extra care might be taken here. One can shorten the fingerboard by around 0.030" (more if the nut action is high) to slightly <u>over</u>compensate, then <u>de</u>-compensate empirically by filing the front of the nut to move the exit points back. One can determine the exact amount to file by finding the sharpness in cents with a tuner, then using the scaleLength/1731 formula. The front of the nut can be filed lengthwise to move all the exit points at once, or up and down to move individual exit points.
-'''Final notes:''' 1) String gauges can affect compensation, so try to choose the correct gauges first. 2) One can avoid nut compensation by using a zero fret. 3) Electric guitars have easily adjustable saddles. Here's an adjustable saddle for acoustic guitars: https://www.portlandguitar.com/collections/bridges They also offer adjustable nuts.
-For more on saddle and nut compensation, see
-* https://www.doolinguitars.com/intonation/intonation4.html (Mike Doolin)
-* http://schrammguitars.com/intonation.html (John and William Gilbert)
-* https://www.proguitar.com/academy/guitar/intonation/byers-classical (Greg Byers)
 == About 41-EDO ==
 [[41-edo]] approximates just intonation very closely. Prime 3 is extremely accurate, and primes 5 and 7 are both flat, which means their errors partially cancel out in ratios such as 7/5. Unfortunately prime 11 is sharp, so the errors add up, and 11/10 is nearly 11¢ sharp.
@@ Line 168: / Line 132: @@
 Tuning the Kite guitar to EADGBE doesn't work, because the conventional chord shapes create wolves. For example, the usual E major chord shape 0 2 2 1 0 0 would translate to either 0 3 3 2 0 0 = E vB vE G# B E, or else 0 4 4 2 0 0 = E ^B ^E G# B E. Either way, the chord contains three wolf octaves and two wolf fifths. In addition, the major 3rd isn't 5/4 but 81/64.
-The standard tuning is the '''downmajor tuning''', in which adjacent open strings are tuned a downmajor 3rd apart. Alternative tunings use an upminor 3rd or an upmajor 3rd. All three tunings are isomorphic, thus there is only one shape to learn for any chord. A "semi-isomorphic" tuning alternates downmajor and upminor 3rds, and every chord has two shapes. In addition, there are open tunings such as DADGAD.
+There are two main types of tunings. '''Isomorphic tunings''' in 3rds lets you play 7-limit chords and chord progressions, and explore the 7-limit lattice.  '''Open tunings''' let you explore the 13-limit tonality diamond.
+Isomorphic means "same shape", and there is only one shape to learn for any chord. The standard isomorphic tuning is the '''downmajor tuning''', in which adjacent open strings are tuned a downmajor 3rd apart. Alternative isomorphic tunings use an upminor 3rd or an upmajor 3rd. A semi-isomorphic tuning alternates downmajor and upminor 3rds, and every chord has two shapes. In addition, there are open tunings such as DADGAD.
 * [http://tallkite.com/misc_files/The%20Kite%20Tuning%20downmajor%20fretboard.pdf Fretboard chart for the downmajor tuning] (tuning chart at the bottom needs updating, the low note is vD not D)
 * [http://tallkite.com/misc_files/The%20Kite%20Tuning%20upminor%20fretboard.pdf Fretboard chart for the upminor tuning]  (the tuning chart at the bottom needs updating, the low note is vD not D)
 * [http://tallkite.com/misc_files/The%20Kite%20Tuning%20DADGAD%20fretboard.pdf Fretboard chart for the DADGAD tuning]
 Open tunings become more playable with the use of a "half-fret capo". From Jason Yerger's liner notes (see the "Recordings" section):
@@ Line 224: / Line 190: @@
 More scales are discussed here:
 * [[The_Kite_Guitar_Scales|The Kite Guitar Scales]] (practical guide)
-* [[Kite Giedraitis's Categorizations of 41edo Scales|Scales on the Kite Guitar]] (theoretical background)
+* [[Kite Giedraitis's Categorizations of 41edo Scales|Scales on the Kite Guitar]] (theoretical background, the 5 categories of scales)
 == Relative and Absolute Tab ==
@@ Line 263: / Line 229: @@
 The Kite guitar can be tuned to a specific pitch using the [http://tallkite.com/misc_files/EDOtuner.txt EDOtuner] (text file, right click and "save as..."), a free strobe tuner for microtonal guitars (requires [https://www.reaper.fm/ Reaper] or [https://www.reaper.fm/reaplugs/ ReaJS]). Presets for the Kite guitar can be found here: http://tallkite.com/misc_files/js-MIDI_EDOtuner_txt.ini In Reaper, select Options/Show REAPER Resource Path and put the .ini file in the Presets folder.
+== For Luthiers ==
+'''<u>Fret and Marker Placement</u>'''
+To place the frets on a Kite guitar, simply replace the 12th root of 2 = 1.059463 with the 41st root of 4 = 1.034390. Or purchase a pre-slotted fingerboard from [https://precisionpearl.com/ PrecisionPearl.com]. It comes radiused, tapered and inlaid, so all you need to do is glue it on and put in the frets. Replacing 24 old frets makes 41 new frets, but the last few are very tightly spaced. One might instead replace 21 old frets to make 36 new frets. Every 4th fret has a dot (fretboard marker), and every 12th fret has a double dot. Thus a 36-fret guitar is a 9-dot guitar.
+'''<u>String Gauges</u>'''
+A 6-string Kite guitar tuned in 3rds can be strung with a standard set of strings, but it's not ideal. The high strings will be somewhat slack, and the low strings will be somewhat tight. To find the appropriate gauges, use the D'Addario method: calculate each string's tension from its unit weight, length and pitch (frequency) by the formula T =  (UW  x (2 x L x F)<sup>2</sup>) / 386.4. For open strings, the length is the guitar's scale. The frequency in hertz of the Nth string of 8 strings tuned in the standard downmajor 3rds with a low string of vD is 440 * (2 ^ (-7/12 + (21 - 13*N) / 41)). For a 6-string guitar, N ranges from 2 to 7. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). D'Addario has [https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf published] their unit weights, thus the individual tensions can be calculated for a given set of strings. One can work backwards from this and select string gauges/types that give uniform tensions using this spreadsheet: http://tallkite.com/misc_files/StringTensionCalculator.ods The desired tension depends on the instrument, and of course personal taste. A steel-string acoustic guitar might have 25-30 lbs. tension for each string. A 12edo 25.5" electric guitar strung with a standard 10-46 set has 15-20 lbs. With a 9-42 set it has 13-16 lbs.
+* A longer scale means a higher tension or a smaller gauge or a lower pitch (frequency)
+* A higher tension means a longer scale or a bigger gauge or a higher pitch
+* A bigger gauge means a shorter scale or a higher tension or a lower pitch
+* A higher pitch means a shorter scale or a higher tension or a smaller gauge
+Microtonalist and luthier Tom WInspear can provide custom string sets at his website [https://www.winspearinstrumental.com/ www.winspearinstrumental.com]. His approach is to extrapolate from familiar string sets. He says this about string gauges: "Gauges can be scaled at the same ratios as frequency. A 41-edo downmajor 3rd is 2^(13/41) = 1.2458, thus from string to string the gauge changes by 24.58%. But you can't do that across the plain to wound transition. To tune to different keys, increase the gauges by 5.95% for each 12-edo semitone of transposition, or 1.705% for each 41-edostep. All this assumes a 25.5" scale. For a scale of S inches, multiply each gauge by 25.5/S and round off. For scales longer than 25.5", err on the side of heavier and round up, as longer scales do feel more flexible loaded with the same tension. Likewise, for scales less than 25.5", err on the side of lighter and round down. However, the plain strings should always be rounded slightly down, and should utilize .0005" increment plain strings where available."
+www.JustStrings.com sells custom gauges singly or in bulk. Recommended (somewhat light) gauges for a 27" acoustic guitar: '''11.5 15 18 24 30 36 46 56''' (3 plain, 5 wound). For a 25.5" or 26.5" electric: '''10 13 16 22 26 32 42 52''', the wound 4th string could instead be a '''19''' plain.
+'''<u>Saddle and Nut Compensation</u>'''
+'''Method #1:''' To find the saddle compensation on a standard guitar, one compares the harmonic at the 12th fret with the fretted note at the 12th fret. For the Kite guitar, by a weird coincidence, one does the same! But the 12th fret now makes the 3rd harmonic, not the 2nd. Thus the two notes should be an octave apart, not a unison. If using a tuner, this is not a problem. But if using your ear, a unison is easier to hear than an octave. To get a unison, when you fret the string, play the 2nd harmonic with your other hand. With your forefinger or middle finger, touch the string midway between the 32nd and 33rd frets. Then stretch your hand and pluck with your thumb as close as you can get to the midpoint between your finger and the bridge. If this isn't feasible (e.g. with a bass guitar), you can capo the string at the 12th fret and use both hands to play the harmonic. And to be extremely precise, the fretted note should be 0.48¢ sharper than the harmonic. The 3rd harmonic is 701.96¢ and the 41-edo interval is 702.44¢.
+On a standard guitar, there's a formula for saddle compensation. Move the saddle point back by about 0.015" for every cent that the 12th fret note is sharp of the open string's 2nd harmonic. The 0.015" figure is more precisely the scale length times ln(2)/1200, which is scaleLength/1731. Saddle compensation flattens the 12th fret note twice as much as the open string note. So if the 12th fret note is 3¢ sharp, flattening the open string note by 3¢ (about 0.045") flattens the 12th fret note by 6¢, and the <u>interval</u> between them is flattened by 3¢ to an exact octave.
+On a Kite guitar, the scaleLength/1731 formula still holds. But saddle compensation affects the 12th fret note only one and a half times as much as the open string note. Hence for each cent of sharpness, one must flatten by <u>two</u> cents. For example, suppose the 12th fret note is 2¢ sharp of the 3rd harmonic. It's supposed to be 0.48¢ sharp, so the actual sharpness is only 1.5¢. (In practice, if one's tuner isn't this accurate, one might simply round down a bit.) Move the saddle point back by twice this, 3¢ or 0.045". This will flatten the open string by 3¢ and the 12th fret note by 4.5¢, narrowing the interval by 1.5¢ to an exact 41-edo 5th. On the saddle, mark a point 0.045" behind the exit point, and file up to the mark.
+'''Method #2:''' The first method serves as a rough check of the saddle points. But it's much safer to check multiple frets. [http://tallkite.com/KiteGuitar/KiteGuitarNotes.pdf This table] has the pitch of every single note on the fretboard. The 2nd page omits some redundant information to make room to pencil in discrepancies in cents. But the open strings aren't reliable, because the nut is not yet compensated (nut compensation must be done after saddle compensation). Use a capo to remove the nut issue. Capo the string at the 1st fret (or 2nd or 3rd, if the capo doesn't fit your 8-string very well). Tune the capo'ed string to the table, then compare the other frets to the table. <u>Important</u>: do not remove the capo during this process, as that will change the tension, and thus the pitch. It's usually sufficient to check every 4th fret, i.e. every dot. Look for the general trend. If the saddle point is too far back, the higher frets will be increasingly flat. Too far forward, and they will trend sharp. If there's an outlier that breaks the pattern, check its neighboring frets. No guitar is perfect. If some frets are sharp and some equally flat, that's the best you can get. Once you find the trend, estimate how much cents error would be expected at the 5th dot, which is almost an octave. That's roughly how many cents to compensate by. (To be super-precise, you could increase the cents by about 3%, so that 6¢ becomes 6.2¢.) Compensate as in method #1 with the scaleLength/1731 formula.
+'''Nut compensation''' can be done similarly to a standard guitar, by comparing the open string to the fretted notes. But since the Kite guitar is so much more in tune, extra care might be taken here. One can shorten the fingerboard by around 0.030" (more if the nut action is high) to slightly <u>over</u>compensate, then <u>de</u>-compensate empirically by filing the front of the nut to move the exit points back. One can determine the exact amount to file by finding the sharpness in cents with a tuner, then using the scaleLength/1731 formula. The front of the nut can be filed lengthwise to move all the exit points at once, or up and down to move individual exit points.
+'''Final notes:''' 1) String gauges can affect compensation, so try to choose the correct gauges first. 2) One can avoid nut compensation by using a zero fret. 3) Electric guitars have easily adjustable saddles. Here's an adjustable saddle for acoustic guitars: https://www.portlandguitar.com/collections/bridges They also offer adjustable nuts.
+For more on saddle and nut compensation, see
+* https://www.doolinguitars.com/intonation/intonation4.html (Mike Doolin)
+* http://schrammguitars.com/intonation.html (John and William Gilbert)
+* https://www.proguitar.com/academy/guitar/intonation/byers-classical (Greg Byers)
 == Translating 12-edo Songs to 41-edo ==
 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. Generally the translated version is an improvement, because it's so well tuned.
-One way to translate a conventional song is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use the spiral charts in the "About 41-edo" section.
+One way to translate a conventional song is to first translate it to 7-limit JI, perhaps visualizing it on a lattice, keeping in mind that 41-edo tempers out the [[32805/32768|Layo]], [[225/224|Ruyoyo]], [[1029/1024|Latrizo]] and [[5120/5103|Saruyo]] minicommas. Then translate the JI to 41edo. Another way is to use the spiral charts in the "About 41-edo" section.
 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.
@@ Line 278: / Line 280: @@
 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.
-For rapid comma pumps of only two measures, a shift halfway through the pump is often best. See Kite's translation of "I Will".
+For rapid comma pumps of only two measures, a shift halfway through the pump is often best. See [[Song Translations by Kite Giedraitis to The Kite Guitar#I Will .28The Beatles.29|Kite's translation of "I Will"]].
 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.
@@ Line 284: / Line 286: @@
 In much music, especially pre-20th-century music, the dissonance of the dom7 chord is what drives the V7 - I cadence and gives the music momentum. But 41-edo's smooth v7 chord is like a guard dog that smiles and wags its tail at strangers instead of barking. It's <u>too</u> relaxed! And the 7-limit intervals can sound out of place in a pre-20th-century context. One might instead use Vv,7 (down add-7, with a plain minor 7th) or Vv,^7 (down up-7, with an upminor 7th). For example, Am - G - F - E7 can be translated as A^m - ^Gv - ^Fv - Ev,^7. (This also avoids a pitch shift.)
-For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so the latter progression feels unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.
+For 20th-century music, a Vv7 chord is often appropriate. But when a stronger V7 - I cadence is desired, a V^7 chord often works. For example, IIm7 - V7 - IM7 could be translated as either II^m7 - Vv7 - IvM7 or IIvm7 - Vv7 - IvM7. But the v7 chord is actually smoother than the vM7 chord, so both progressions feel unfinished. Better is II^m7 - V^7 - IvM7. The II^m7 chord has two notes in common with V^7. It feels somewhat like a V11no1no3 chord. If a 9th is added to the V^7 chord, there are three common notes, and the progression feels even more connected.
-However, if the I chord has no 7th, either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv works well. The IIvm7 chord is more connected to the V chord than II^m7. This also works if the I chord has a minor 7th, i.e. Iv7.
+However, if the I chord has no 7th, Vv7 works well, and the progression can be tuned either II^m7 - Vv7 - Iv or IIvm7 - Vv7 - Iv. The IIvm7 chord is more connected to the V chord than II^m7. The Vv7 chord also works if the I chord has a minor 7th, i.e. Iv7.
-Actual song translations are on separate xenwiki pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here! If you're translating a song that's already been translated, please link both translations to each other.
+Actual song translations are on separate xenwiki pages, grouped by translator. if you have any translations, feel free to create your own page and link to it here! If you're providing an alternate translation of a song that's already been translated, please link both translations to each other.
 === [[Song_Translations_by_Kite_Giedraitis_to_The_Kite_Guitar|Song Translations by Kite Giedraitis to The Kite Guitar]] ===