Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions
added parallel 3rds exercises |
quarter-fret bends for soloing |
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== Quarter-fret Bends, Sixth-fret Bends, etc. == | == Quarter-fret Bends, Sixth-fret Bends, etc. == | ||
This is a very advanced technique that requires a keen ear, and frankly may or may not appeal to you. | This is a very advanced technique that requires a keen ear, and frankly may or may not appeal to you. | ||
When soloing over a tetrad with a non-plain minor 7th, a sustained 4th creates an innate-comma pentad. The comma can be tamed by splitting the difference. Over an ^m7 chord, play the plain 4th, then bend it up a quarter-fret to a half-up 4th. Rather than play a static pre-bent 4th, it sounds better to bend up to the half-up 4th or even beyond. Over a v7 chord, play the down 4th and bend it up to the half-down 4th. | |||
One can hide pitch shifts by sharpening an entire chord by some fraction of an edostep. Obviously it won't work if a chord uses open strings. Play a progression with a pitch shift, e.g. Iv - vVI^m - vII^m - Vv7 - Iv. The 3rd chord has vD and the 4th chord has D. Bend the entire 3rd chord up a quarter-fret by ear, so that its vD becomes a half-down D. This creates another pitch shift, because the chord now has a half-down A which differs from the previous chord's vA. However, two small 15¢ shifts are better than one large 30¢ one. Alternatively, bend the 2nd chord up a sixth-fret and the 3rd chord up a third-fret, to create three pitch shifts of 10¢ each. | One can hide pitch shifts by sharpening an entire chord by some fraction of an edostep. Obviously it won't work if a chord uses open strings. Play a progression with a pitch shift, e.g. Iv - vVI^m - vII^m - Vv7 - Iv. The 3rd chord has vD and the 4th chord has D. Bend the entire 3rd chord up a quarter-fret by ear, so that its vD becomes a half-down D. This creates another pitch shift, because the chord now has a half-down A which differs from the previous chord's vA. However, two small 15¢ shifts are better than one large 30¢ one. Alternatively, bend the 2nd chord up a sixth-fret and the 3rd chord up a third-fret, to create three pitch shifts of 10¢ each. | ||
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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. 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. | 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. | 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]] | ||