Kite Guitar translations by Kite Giedraitis: Difference between revisions

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</tt>

=== Sleep Drifter (King Gizzard and the Lizzard Wizard) ===

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The original is in 24-edo, which 41-edo can approximate fairly well. The scale I chose is the equi-minor scale, P1 ~2 ^m3 P4 P5 ~6 ^m7 P8 or F# ^^G ^A B C# ^^D ^E F#. I could have approximated 24edo even better by using the plain minor 3rd and 7th. But the upminor sounds better to my ear, and is less awkward to play.

There's ~~ony~~ two chords, I^m and ^bVII^m (F#^m and ^E^m). As usual with minor scales, the 4th is fuzzy. During the ^E^m chord, the B note changes to ^B. One could consider these two chords to be F#5 and ^E5 dyads, or F#^m7 and ^E^m7 tetrads. It depends on what you call melody and what you call harmony.

There's only two chords, I^m and ^bVII^m (F#^m and ^E^m). As usual with minor scales, the 4th is fuzzy. During the ^E^m chord, the B note changes to ^B. One could consider these two chords to be F#5 and ^E5 dyads, or F#^m7 and ^E^m7 tetrads. It depends on what you call melody and what you call harmony.

There is a frequent melodic ornament that uses a hammer-on and a pull-off to rapidly ~~alternate between~~ ^^G ~~and~~ G#, or ~~between~~ ^^D ~~and~~ D#. The opening riff runs down the scale from C# to F# a 12th below, using this ornament several times on the low ^^G note.

There is a frequent melodic ornament that uses a hammer-on and a pull-off to rapidly move from ^^G up to G# and back, or from ^^D to D# and back. The opening riff runs down the scale from C# to F# a 12th below, using this ornament several times on the low ^^G note.

"Drifting in and out of sleep..."

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F# ^^G ^A ^A ^^G F#

F# ^^G ^A B ^^G F#

</tt>

=== Good In Bed (Dua Lipa) ===

The chords are G^m - Cv - Fv - Dv,7. I used a plain 7th not a down 7th in the D chord to avoid frequent pitch shifts, because the vocal melody uses C a lot. In fact C could be considered the tonic, making the chords V^m - Iv - IVv - IIv,7.

Except for the chorus, the melody uses the C downmajor scale C D vE F G vA vB C. But instead of the 2nd, it's the 6th that's fuzzy, with the vA changing to A over the G^m and Dv,7 chords.

How to tune the "bad"s in the microtonal chorus? The interval between the 1st and last "bad" is about a major 2nd or minor 3rd. The singing isn't perfectly consistent, so it doesn't matter a whole lot melodically which exact note we start from. More important is that the 1st "bad" relates to the underlying chord, to make it easy to sing. My approach was just to find something on the Kite guitar that was playable and harmonized well.

D is the 5th of the G^m chord, but that seemed too low. It would be a wolfy plain M6 over the Fv chord, and would need to be lowered even more to vD to not be wolfy. ^D and Eb clashed too much with the G^m chord, and ^Eb felt too high. So that left vEb. Over the Fv chord, it makes a beautiful v7 chord. Over the G^m chord, it makes a vm6 from the root and an ^M3 from the 3rd, harsh but possible. At least the second "bad" matches the chord well.

But the downminor 3rd is 9 edosteps of 41 and an equal melody is impossible. There has to be one step that's bigger. I chose to make the last step the biggest, but other ways would work too. The second step should definitely be D, to agree with the G^m chord.

Chorus ("I know it's really bad, bad, bad, bad, bad")

<tt>

C C C C C vEb D vvD Db C (3x)

A G F vE vA vE D

</tt>

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 </tt>
 === Sleep Drifter (King Gizzard and the Lizzard Wizard) ===
@@ Line 73: / Line 74: @@
 The original is in 24-edo, which 41-edo can approximate fairly well. The scale I chose is the equi-minor scale, P1 ~2 ^m3 P4 P5 ~6 ^m7 P8 or F# ^^G ^A B C# ^^D ^E F#. I could have approximated 24edo even better by using the plain minor 3rd and 7th. But the upminor sounds better to my ear, and is less awkward to play.
-There's ony two chords, I^m and ^bVII^m (F#^m and ^E^m). As usual with minor scales, the 4th is fuzzy. During the ^E^m chord, the B note changes to ^B. One could consider these two chords to be F#5 and ^E5 dyads, or F#^m7 and ^E^m7 tetrads. It depends on what you call melody and what you call harmony.
+There's only two chords, I^m and ^bVII^m (F#^m and ^E^m). As usual with minor scales, the 4th is fuzzy. During the ^E^m chord, the B note changes to ^B. One could consider these two chords to be F#5 and ^E5 dyads, or F#^m7 and ^E^m7 tetrads. It depends on what you call melody and what you call harmony.
-There is a frequent melodic ornament that uses a hammer-on and a pull-off to rapidly alternate between ^^G and G#, or between ^^D and D#. The opening riff runs down the scale from C# to F# a 12th below, using this ornament several times on the low ^^G note.
+There is a frequent melodic ornament that uses a hammer-on and a pull-off to rapidly move from ^^G up to G# and back, or from ^^D to D# and back. The opening riff runs down the scale from C# to F# a 12th below, using this ornament several times on the low ^^G note.
 "Drifting in and out of sleep..."
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   F# ^^G ^A ^A ^^G F#
   F# ^^G ^A B ^^G F#
+</tt>
+=== Good In Bed (Dua Lipa) ===
+The chords are G^m - Cv - Fv - Dv,7. I used a plain 7th not a down 7th in the D chord to avoid frequent pitch shifts, because the vocal melody uses C a lot. In fact C could be considered the tonic, making the chords V^m - Iv - IVv - IIv,7.
+Except for the chorus, the melody uses the C downmajor scale C D vE F G vA vB C. But instead of the 2nd, it's the 6th that's fuzzy, with the vA changing to A over the G^m and Dv,7 chords.
+How to tune the "bad"s in the microtonal chorus? The interval between the 1st and last "bad" is about a major 2nd or minor 3rd. The singing isn't perfectly consistent, so it doesn't matter a whole lot melodically which exact note we start from. More important is that the 1st "bad" relates to the underlying chord, to make it easy to sing. My approach was just to find something on the Kite guitar that was playable and harmonized well.
+D is the 5th of the G^m chord, but that seemed too low. It would be a wolfy plain M6 over the Fv chord, and would need to be lowered even more to vD to not be wolfy. ^D and Eb clashed too much with the G^m chord, and ^Eb felt too high. So that left vEb. Over the Fv chord, it makes a beautiful v7 chord. Over the G^m chord, it makes a vm6 from the root and an ^M3 from the 3rd, harsh but possible. At least the second "bad" matches the chord well.
+But the downminor 3rd is 9 edosteps of 41 and an equal melody is impossible. There has to be one step that's bigger. I chose to make the last step the biggest, but other ways would work too. The second step should definitely be D, to agree with the G^m chord.
+Chorus ("I know it's really bad, bad, bad, bad, bad")
+<tt>
+ C C C C C vEb D vvD Db C (3x)
+ A G F vE vA vE D
 </tt>

Kite Guitar translations by Kite Giedraitis: Difference between revisions

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