Kite Guitar translations by Kite Giedraitis: Difference between revisions
→Fast Car (Tracy Chapman): added advice for retuning strings |
→Good In Bed (Dua Lipa): minor rewrite |
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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> | ||
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<tt> | <tt> | ||
^^D ^E F# ^^G ^A B C# | ^^D ^E F# ^^G ^A B C# | ||
</tt> | </tt> | ||
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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. | 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 | D is the 5th of the G^m chord, but that seemed too low. ^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. | ||
But the downminor 3rd is 9 edosteps of 41 and an equal melody is impossible. There has to be one step that's | But the downminor 3rd is 9 edosteps of 41, and an equal melody is impossible. There has to be one step that's larger. I chose to make the last step the largest, making vEb D vvD Db C. But the 2nd or 3rd step could be the large one. Not the 1st step, because vD makes a very wolfy off-5th with the G^m chord. So the second note should definitely be plain D. This note does make a somewhat wolfy plain M6 over the F chord, but that's the lesser of two evils. Another possibility: one could walk down differently over each chord. Over the G chord, vEb D vvD Db C, and over the F chord, vEb vD ^Db vDb C . But this makes the melody considerably more complicated. | ||
Chorus ("I know it's really bad, bad, bad, bad, bad") | Chorus ("I know it's really bad, bad, bad, bad, bad") | ||
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Relative notation. | Relative notation. The number after the slash indicates the interval from the root of the chord, not from the tonic of the scale. The reason for this is 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. | ||
<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> | ||
This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret. | This lacks the droning open string sound of the original. One solution is to tune the 2nd and 3rd string up one fret. | ||
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2 - - - | - - - - | - - - - | - - - - | 2 - - - | - - - - | - - - - | - - - - | ||
- - - 0 | - - - - | 15 - - 12 | - - - - | - - - 0 | - - - - | 15 - - 12 | - - - - | ||
</tt> | </tt> | ||
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. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. <b>Bolded</b> notes are capo'ed open strings: | 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. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. <b>Bolded</b> notes are capo'ed open strings: | ||
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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. | ||
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The chorus is straightforward: | The chorus is straightforward: | ||
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IV^dim7 #Vvdim7 | IV^dim7 #Vvdim7 | ||
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^G#vdim7 . . 19 . 16 14 18 | ^G#vdim7 . . 19 . 16 14 18 | ||
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In relative notation: | In relative notation: | ||
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</tt> | </tt> | ||
In relative notation: | In relative notation: | ||
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Relative notation: | Relative notation: | ||