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Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions

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* Play and sing a zigzag microtonal melody: P1 ^1 P1 vm2 P1 m2 P1 ^m2 P1 ~2 P1 vM2 P1 M2 P1.
* Play and sing a zigzag microtonal melody: P1 ^1 P1 vm2 P1 m2 P1 ^m2 P1 ~2 P1 vM2 P1 M2 P1.
As before, start by singing along with the guitar, then try singing first and checking yourself later with the guitar.
As before, start by singing along with the guitar, then try singing first and checking yourself later with the guitar.
== Parallel Thirds ==
For all your favorite scales, play ascending and descending lines harmonized in 3rds. If the two notes lie on the same string, use the scale's innate fuzziness to move one of the notes a half-fret up or down. The fuzzy notes are bolded:
{| class="wikitable"
|+downmajor scale in descending 3rds
!high voice
|vE
|'''D'''
|C
|vB
|vA
|G
|F
|vE
|-
!low voice
|C
|vB
|vA
|G
|F
|vE
|'''vD'''
|C
|}
Upminor with a raised 7th at the end, a sort of "macro-fuzziness":
{| class="wikitable"
|+upminor scale in descending 3rds
!high voice
|^Eb
|D
|C
|^Bb
|^Ab
|G
|'''^F'''
|^Eb
|D
|vB
|C
|-
!low voice
|C
|^Bb
|^Ab
|G
|'''F'''
|^Eb
|D
|C
|vB
|G
|G
|}
Equi-minor is reminiscent of Maqam Bayati:
{| class="wikitable"
|+equi-minor scale in descending 3rds
!high voice
|^Eb
|^^Db
|C
|^Bb
|'''^^Ab'''
|G
|^F
|^Eb
|-
!low voice
|C
|^Bb
|'''^Ab'''
|G
|^F
|^Eb
|^^Db
|C
|}
For pentatonic scales, play parallel "penta-3rds", which span 3 notes of the pentatonic scale. For downmajor, these are mostly 4ths.
{| class="wikitable"
|+dscending downmajor penta-3rds
!high voice
|vE
|'''vD'''
|C
|vA
|G
|vE
|'''vD'''
|C
|-
!low voice
|C
|vA
|G
|vE
|'''D'''
|C
|vA
|G
|}
Downminor penta-4ths are mostly 5ths:
{| class="wikitable"
|+descending downminor penta-4ths
!high voice
|vEb
|C
|vBb
|G
|'''vF'''
|vEb
|C
|-
!low voice
|G
|'''F'''
|vEb
|C
|vBb
|G
|G
|}
The harmonic and subharmonic pentatonic scales aren't fuzzy. They have a pleasing variety of intervals.
{| class="wikitable"
|+descending harmajor penta-3rds
!high voice
|vE
|D
|C
|vBb
|G
|vE
|D
|C
|-
!low voice
|C
|vBb
|G
|vE
|D
|C
|vBb
|G
|}
Major and minor modes of the subharmonic pentatonic scale:
{| class="wikitable"
|+descending subharmajor penta-3rds
!high voice
|^E
|D
|C
|^Bb
|G
|^E
|D
|C
|-
!low voice
|C
|^Bb
|G
|^E
|D
|C
|^Bb
|G
|}
{| class="wikitable"
|+descending subharminor penta-3rds
!high voice
|^Eb
|C
|^A
|G
|F
|^Eb
|C
|-
!low voice
|^A
|G
|F
|^Eb
|C
|^A
|G
|}
This decatonic scale has deca-4ths that are mostly downmajor 3rds.
{| class="wikitable"
|+twin downminor scale in descending deca-4ths
!high voice
|vE
|vEb
|vvD
|C
|vB
|vBb
|^Ab
|G
|Gb
|'''vF'''
|vE
|vEb
|vvD
|C
|-
!low voice
|C
|vB
|vBb
|^Ab
|G
|Gb
|'''F'''
|vE
|vEb
|vvD
|C
|vB
|vBb
|G
|}


== Half-fret Bends ==
== Half-fret Bends ==
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To practice such bends, do one of the half-fret bend exercises in two or three stages.
To practice such bends, do one of the half-fret bend exercises in two or three stages.


In 41-edo, 5-over intervals like 5/4 and 5/3 are about 6¢ flat. One can correct this by applying a tenth-fret bend to certain notes of the chord. For example, in a downmajor chord in R-5-3 voicing, bend the 3rd up slightly. It's also possible to correct the 6¢ sharpness of 5-under intervals by bending a note slightly <u>down</u>. Press the string firmly against the fingerboard and push it towards the bridge. This is harder to do by the nut, because bending down stretches the string behind the fret, and there's very little to stretch there.
In 41-edo, 5-over intervals like 5/4 and 5/3 are about 6¢ flat. One can correct this by applying a tenth-fret bend to certain notes of the chord. For example, in a downmajor chord in R-5-3 voicing, bend the 3rd up slightly. Listen closely for interference beats that slow down as you bend up. It may help to play the actual coinciding harmonics first. If your chord is 4 . 3 . 5, play harmonics at 11 . . . 26 and . . 10 . 17. Except for the last one at fret 17, touch the string just behind the fret. For a 4 . 3 5 5 voicing, to bend the 3rd up, you'll need to pull your pinkie down towards the treble side of the fretboard. For a 1st inversion . 4 3 5 . voicing, push your finger up towards the bass side. It's rather difficult to bend the 3rd in a close 4 4 3 5 voicing.
 
It's also possible to correct the 6¢ sharpness of 5-under intervals by bending a note slightly <u>down</u>. Press the string firmly against the fingerboard and push it towards the bridge. This is harder to do by the nut, because bending down stretches the string behind the fret, and there's very little to stretch there.


[[Category:Kite Guitar]]
[[Category:Kite Guitar]]
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