Kite Guitar translations by Kite Giedraitis: Difference between revisions
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F# ^E F# F# ^^D ^^D C# | F# ^E F# F# ^^D ^^D C# | ||
F# ^E F# ^A ^^D* C# ^B *ornamented | F# ^E F# ^A ^^D* C# ^B *ornamented | ||
</tt> | </tt> | ||
"Sleep drifter sleep drifter" | "Sleep drifter sleep drifter" | ||
<tt> | <tt> | ||
^^D ^E F# ^^G ^A B C# | ^^D ^E F# ^^G ^A B C# | ||
</tt> | </tt> | ||
"I can feel you touch me..." | "I can feel you touch me..." | ||
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</tt> | </tt> | ||
Relative notation. Slash chords in roman numeral notation are explained in the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation Guide for Edos], near the end of section 3. | Relative notation. Slash chords in roman numeral notation are explained in the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation Guide for Edos], near the end of section 3. The number after the slash indicates the interval from the root of the chord, not from the tonic of the scale. | ||
<tt> | <tt> | ||
Iv / / / Iv/vM7 / / / | Iv / / / Iv/vM7 / / / | ||
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2 - - - | - - 14 - | 14 - - 14 | - - 14 - | 2 - - - | - - 14 - | 14 - - 14 | - - 14 - | ||
- - - 0 | - - - - | 15 - - 12 | - - - - | - - - 0 | - - - - | 15 - - 12 | - - - - | ||
</tt> | </tt> | ||
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^^bVIv ^^bIIIv ^IV^m Vv7 | ^^bVIv ^^bIIIv ^IV^m Vv7 | ||
</tt> | </tt> | ||
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^bVIv ^bIIIv IV^m Vv7 | ^bVIv ^bIIIv IV^m Vv7 | ||
</tt> | </tt> | ||
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IV^dim7 #Vvdim7 | IV^dim7 #Vvdim7 | ||
</tt> | </tt> | ||
No comma pumps, in fact every chord except for the two dim7 chords contains the tonic. The chords are mostly 5-limit. | 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. | 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. | ||
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^G#vdim7 . . 19 . 16 14 18 | ^G#vdim7 . . 19 . 16 14 18 | ||
</tt> | </tt> | ||
The picking pattern: | The picking pattern: | ||
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| | | | ||
Gv7 / Cv7 / | Gv7 / Dvaug / | Gv7 / Cv7 / | Gv7 / Dvaug / | ||
</tt> | </tt> | ||
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FvM7 Bvm7(b5) Esus4 Ev7 | FvM7 Bvm7(b5) Esus4 Ev7 | ||
</tt> | </tt> | ||
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A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | A^m7 Dv6 ^Gv ^GvM7 Bv,^7 | ||
</tt> | </tt> | ||