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In [[The Kite Guitar|relative tab]], these exercises are unison = (+1,-6.5), 5th = (+1,+5.5) and 4th = (+2,-4.5).
In [[The Kite Guitar|relative tab]], these exercises are unison = (+1,-6.5), 5th = (+1,+5.5) and 4th = (+2,-4.5).
Exactly how far you have to push the string sideways depends on your location on the neck. The most amount of travel is needed halfway up the neck, around the 5th dot. Closer to the nut or the bridge, you'll need less travel.


== The Circle of 5ths ==
== The Circle of 5ths ==
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* Continue cycling through the lowest 3 strings, 6th --> 5th --> 4th --> 6th, until you reach the 4th dot.
* Continue cycling through the lowest 3 strings, 6th --> 5th --> 4th --> 6th, until you reach the 4th dot.
* Move down a 5th by leaping down 3 dots, which is (0,-12) or (0,-3+0).
* Move down a 5th by leaping down 3 dots, which is (0,-12) or (0,-3+0).
* Continue as before, moving up a fret or two and cycling through the lowest 3 strings.
* Continue as before, cycling through the lowest 3 strings and steadily moving up.
* Whenever you reach the 4th dot (or overshoot it by 1 fret), leap down as before.
* Whenever you reach the 4th dot (or overshoot it by 1 fret), leap down as before.
After 5 leaps, you should return to where you started.
After 5 leaps, you should return to where you started.
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Get to the point where you can play this 42-note bass line in under 15 seconds. The final step is to play an actual chord over each of these bass notes. It can be a v7 chord or an ^m7 chord, or really any chord you want to practice. Use an open voicing for root-6 chords, a close voicing for root-4 chords, and either for root-5 chords.
Get to the point where you can play this 42-note bass line in under 15 seconds. The final step is to play an actual chord over each of these bass notes. It can be a v7 chord or an ^m7 chord, or really any chord you want to practice. Use an open voicing for root-6 chords, a close voicing for root-4 chords, and either for root-5 chords.


To really learn your music theory, rather than counting to 42, say the actual note names:
If you're really obsessed with music theory, rather than counting to 42, say the actual note names:


Fourthwards:
Fourthwards:
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== Leaping by 5ths, 8ves and Unisons ==
== Leaping by 5ths, 8ves and Unisons ==
Being able to leap up or down by 3 dots can be useful when chording (see the "I Will Survive" translation). Again, start with a bass line, and add chords over them later.
Being able to leap up or down by 3 dots can be useful when chording (see the "[[Kite Guitar Translations by Kite Giedraitis|I Will Survive" translation]]). Again, start with a bass line, and add chords over them later.
* Play a low Ab (6th string 1st dot), leap up 3 dots to Eb, and leap back down.
* Play a low Ab (6th string 1st dot), leap up 3 dots to Eb, and leap back down.
* Move up one fret to vvA, leap up to vvE and back down.
* Move up one fret to vvA, leap up to vvE and back down.
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Leaping up an octave is useful when switching from chording to soloing. Start at the low Ab, leap up (+1,+3+2) to Ab and back down. Go up 1 fret and continue. A complimentary exercise starts high, leaps down and leaps back up. Then go up 1 fret and continue.
Leaping up an octave is useful when switching from chording to soloing. Start at the low Ab, leap up (+1,+3+2) to Ab and back down. Go up 1 fret and continue. A complimentary exercise starts high, leaps down and leaps back up. Then go up 1 fret and continue.


Leaping up to the unison is useful when you are soloing and you run out of strings. For example, you're playing the 4th of the scale on the top string, and you want to go up to the 5th. Start on Eb (1st string 1st dot), leap up to the same Eb on the 3rd string, and leap back down. The leap is (-2,+3+1). Move up a fret and repeat. Keep moving up a fret until you run out of frets.
Leaping up to the unison is useful when you are soloing and you run out of strings. For example, you're playing the 4th of the scale on the top string and not too far up the neck, and you want to go up to the 5th. Start on Eb (1st string 1st dot), leap up to the same Eb on the 3rd string, and leap back down. The leap is (-2,+3+1). Move up a fret and repeat. Keep moving up a fret until you run out of frets.


A complimentary exercise is for when you are on the lowest string and you want to go further down. Start at the 13th fret of the 6th string, leap down by (+2,-3-1), and leap back up. Move up a fret and repeat.
A complimentary exercise is for when you are on the lowest string and high up the neck, and you want to go further down. Start at the highest fret of the 6th string, leap down by (+2,-3-1), and leap back up. Move down a fret and repeat.


== Combination Exercises ==
== Combination Exercises ==
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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.  
When soloing over an ^m7 chord, a sustained 4th creates an innate-comma pentad. The effect is subtle but noticeable, and once you hear it, it's hard to unhear. The comma can be tamed by splitting the difference. Play the plain 4th, then bend it up a quarter-fret to a <u>half-up</u> 4th. The bend needn't be exact. Unlike bending the down-5th a half-fret up to the 5th, the end result isn't to lock into a specific ratio. In fact, rather than play a static perfectly-bent 4th, a moving bend that starts at the plain 4th and goes up to the half-up 4th or even beyond sounds better.  


Most tetrads create such "bendy" notes. Over a v7 chord, play the <u>down</u> 4th and bend it up to the <u>half-down</u> 4th. 
{| class="wikitable"
|+
!chord category
!what to bend
! colspan="6" |example chords
!no need to bend if...
|-
|7th chord
|the 4th
|^7
|v7
|^m7
|vm7
|^d^7
|vdv7
|the 7th is major, dim, or plain minor
|-
|minor add4 chord
|the minor 7th
|^m,4
|vm,4
| colspan="4" |
|the 3rd is plain
|-
|6th chord
|the major 2nd
|^6
|v6
|^m6
|vm6
| colspan="2" rowspan="2" |
|the 6th is plain
|-
|major add9 or major9
|the major 6th
|^,9
|v,9
|^M9
|vM9
|the 3rd is plain
|-
|9th chord w major 3rd
|the 4th and major 6th
|^9
|v9
| colspan="4" rowspan="2" |
|4th: see 7th chord, 6th: see add9 chord
|-
|9th chord w minor 3rd
|the 4th
|^m9
|vm9
|see 7th chord
|}
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.


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. This issue is even more subtle than the innate-comma pentad, but still noticeable. One can correct this by applying a tenth-fret bend to certain notes of the chord. This sounds hard, but fortunately there are only a few chord shapes to apply this to. One quickly gets in the habit of "leaning on" certain notes in these shapes.
 
For example, in a downmajor chord in R-5-3 voicing, bend the 3rd up slightly with your pinkie. 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.  


== Interesting Root Movements ==
== Interesting Root Movements ==
This is not a playing exercise for your fingers, but a composing exercise for your mind. Given a chord, what chord can you move to that has at least 2 notes in common? Root movement intervals tend to be not plain. Harmonic chords tend to be followed by subharmonic chords and vice versa. The ^9 chord can often have its root omitted, becoming a vdv7 or ^m6 chord.  
This is not a playing exercise for your fingers, but a composing exercise for your mind. Given a chord, what chord can you move to that has at least 2 notes in common? Root movement intervals tend to be not plain. Harmonic chords tend to be followed by subharmonic chords and vice versa. The ^9 chord can often have its root omitted, becoming a vdv7 or ^m6 chord. These tables list only some of the possibilities.  
{| class="wikitable"
{| class="wikitable"
|+from the down7 chord
|+from the down7 chord
!common tones
!progression
!progression
! colspan="2" |guitar tab
! colspan="2" |guitar tab
!notes
!notes
|-
|-
|root (of I chord)
|Iv7 -- IVv7
|Iv7 -- IVv7
|4 - 3 1 5
|4 - 3 1 5
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|only 1 note in common, but too basic to leave out
|only 1 note in common, but too basic to leave out
|-
|-
| rowspan="2" |5th
|Iv7 -- Vv7
|Iv7 -- Vv7
| - 6 6 5 3
| - 6 6 5 3
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|4 5 3 2 2
|4 5 3 2 2
|ditto, two nice 1-fret voice movements
|ditto, two nice 1-fret voice movements
|-
| rowspan="4" |root & 5th
|Iv7 -- IVv9
|4 - - 1 5 4
| - 6 6 5 3 4
|
|-
|-
|Iv7 -- IV^9
|Iv7 -- IV^9
|4 - - 1 5 4
|4 - - 1 5 4
| - 6 7 5 4 4
| - 6 7 5 4 4
|the scale's vm7 goes to a ^M6, only half a fret away
|one tiny half-fret voice movement
|-
|Iv7 -- I^9
|4 - 3 1 5
|4 5 3 2 2
|less satisfying because the root doesn't change
|-
|Iv7 -- vVI^d^7
| - 4 4 3 1
|5 - 2 3 5
|vVI chord can "flip" to a IVv9noR chord
|-
|-
|root & 3rd
|Iv7 -- vII^9 or #IVvdv7
|Iv7 -- vII^9 or #IVvdv7
|4 - 3 1 5
|4 - 3 1 5
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|leads nicely into the IVv7 chord
|leads nicely into the IVv7 chord
|-
|-
|3rd & 5th
|Iv7 -- vVI^9 or #Ivdv7
|Iv7 -- vVI^9 or #Ivdv7
| - 4 4 3 1
| - 4 4 3 1
|(5) 6 4 3 3
|(5) 6 4 3 3
|#Ivdv7 leads nicely into the vVI^m7 chord
|#Ivdv7 leads nicely into the vVI^m7 chord
|-
|-
|Iv7 -- I^9
| rowspan="2" |root & 7th
|4 - 3 1 5
|4 5 3 2 2
|less satisfying because the root doesn't change
|-
| rowspan="2" |Iv7 -- vbVI^9 or
| rowspan="2" |Iv7 -- vbVI^9 or
Iv7 -- vbIII^m6
Iv7 -- vbIII^m6
| - 4 4 3 1
| - 4 4 3 1
|3 4 2 1 1
|3 4 2 1 1
|vbVI^9 leads nicely into the Vv7 chord
|vbVI^9 leads nicely into the Vv7 chord
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|vbIII^m6 leads nicely into the IVv7 chord
|vbIII^m6 leads nicely into the IVv7 chord
|-
|-
|5th & 7th
|Iv7 -- vbIII^9 or vbVII^m6
|Iv7 -- vbIII^9 or vbVII^m6
|4 - - 1 5 4
|4 - - 1 5 4
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|leads nicely into the Vv7 chord
|leads nicely into the Vv7 chord
|-
|-
|3rd & 7th
|Iv7 -- ^VII^9 or vIIIvdv7
|Iv7 -- ^VII^9 or vIIIvdv7
|4 - 3 1 5
|4 - 3 1 5
|(3) 4 2 1 1
|(3) 4 2 1 1
|a weird one
|a weird one
|}
{| class="wikitable"
|+from the upminor7 chord
!common tones
!progression
! colspan="2" |guitar tab
!notes
|-
|5th
|I^m7 -- Vv7
| - 6 5 5 4
|4 - 3 1 5
|only 1 note in common, but too basic to leave out
|-
|root & 5th
|I^m7 -- ^VIvm7
| - 4 3 3 2
|6 4 5 3
|weird but cool
|-
|root & 3rd
|I^m7 -- ^bVIv7
| - 4 3 3 2
|4 - 3 1 5
|nice
|-
|3rd & 7th
|I^m7 -- ^bIIIvm7
|4 - 3 2 4
| - 3 1 2 0
|weird but cool
|-
|5th & 7th
|I^m7 -- V^m7
| - 4 3 3 2
|2 - 1 0 2
|
|-
|root, 3rd & 5th
|I^m7 -- IV^9
|4 - 3 2 4 4
| - 6 7 5 4 4
|one of my favorites, even though 3 common tones
|}
|}
[[Category:Kite Guitar]]
[[Category:Kite Guitar]]
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