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

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=== Rotations aka Inversions ===
=== Rotations aka Inversions ===
In music theory, the word [[wikipedia:Inversion_(music)|inversion]] has distinct, but related, meanings when applied to intervals, chords, voices (in counterpoint), and melodies. These exercises cover melodic-style inversions, i.e. flipping things upside down. To avoid confusion, we'll call them '''rotations''', for reasons that will become obvious.  
In music theory, the word [[wikipedia:Inversion_(music)|inversion]] has distinct, but related, meanings when applied to intervals, chords, voices (in counterpoint), and melodies. These exercises cover melodic-style inversions, i.e. flipping things upside down. Similar to what Jacob Collier calls negative harmony. To avoid confusion, we'll call them '''rotations''', for reasons that will become obvious.  


==== Motivating Example ====
==== Motivating Example ====
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==== Rotating a Chord ====
==== Rotating a Chord ====
Play any chord in root position and close voicing as an ascending arpeggio. Think of this arpeggio as a melody. Starting on the highest note, rotate the melody to get a descending arpeggio. You should end up on the lowest note of the original chord. This new arpeggio is your rotated chord. Example: a v7 chord 4 4 3 1 rotates to 4 2 1 1. Again, look at the fretboard shapes. Everything got rotated 180 degrees.
Rotating in place: Play any chord in root position and close voicing as an ascending arpeggio. Think of this arpeggio as a melody. Starting on the highest note, rotate the melody to get a descending arpeggio. You should end up on the lowest note of the original chord. This new arpeggio is your rotated chord. Example: a v7 chord 4 4 3 1 rotates to 4 2 1 1. Again, look at the fretboard shapes. Everything got rotated 180 degrees.  


Try this with other chords. Some chords rotate to themselves!
Try this with other chords. Some chords rotate to themselves!


What about triads?
What if we include the octave?
{| class="wikitable"
{| class="wikitable"
|+
|+
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| --->
| --->
|x 8 10 9 9 x
|x 8 10 9 9 x
|A^m
|G^m
|low-5 add-5
|add-low-5
|}
|}
It matters whether we include the octave or not. We get the same chord type, upminor, but different roots and different voicings. To keep the same root, follow our rule: the root becomes the 5th and vice versa. x '''8''' 8 '''7''' 9 x becomes 6 '''8''' 7 '''7''' x x, and Dv becomes D^m. The old voicing was close, going up from the root. The new voicing is also close, but now it goes down from the 5th.
Adding the octave results in a different root. To keep the same root, rather than rotating in place, follow our rule: the root becomes the 5th and vice versa. x '''<u>8</u>''' 8 '''<u>7</u>''' 9 x becomes 6 '''<u>8</u>''' 7 '''<u>7</u>''' x x, and Dv becomes D^m. The old voicing was close, going up from the root. The new voicing is also close, but now it goes down from the 5th.


What about open voicings? If we start at the 5th and go down from there, we'll run out of strings. So let's start at the top note.
If the 5th is diminished, the root-to-fifth rule still works: 4 3 1 becomes 4 2 1, and updim becomes downdim.
 
What about open voicings? To avoid running out of strings, let's assume a 7-string guitar in a low-7 tuning.
{| class="wikitable"
{| class="wikitable"
|+
|+
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!voicing
!voicing
|-
|-
|Dvm
|D^m
|hi-3 add-8
|hi-3 add-8
|x 8 x 7 9 7
|x x 8 x 7 9 8
| --->
| --->
|x 8 6 8 x 7
|7 6 8 x 7 x x
|vBb^
|Dv
|low-3,5 add-5
|low-3, add-low-5
|}
|}
What a mess! An unrelated root, and not a very nice voicing. You can only take rotations so far. The basic rules of voicing and voice leading still hold. Good chord voicings avoid small intervals in the bass, but favor them in the upper voices. Good bass melodies tend to have big leaps, and good melodies in the upper voices tend to have smaller steps.  
Not a very nice voicing. You can only take rotations so far. The basic rules of voicing and voice leading still hold. Good chord voicings imitate the harmonic series: larger intervals between the lower voices and smaller intervals between the upper voices. In accompaniments, Good bass melodies tend to have big leaps, and good melodies in the upper voices tend to have smaller steps. So a good voicing will often rotate to a bad one, and you'll often want to revoice after rotating.  
 
So for now, don't worry about the new voicing or the new root. Just focus on the new chord type.


* major rotates to minor
* major rotates to minor
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==== Rotating a Chord Progression ====
==== Rotating a Chord Progression ====
First rotate each individual chord type. Next, play the roots of each chord as a bass line. Voice each root in whatever octave you want. Rotate the bass line like you would rotate any melody. Don't change the starting note, except perhaps by an octave. Finally, play the rotated chords using the rotated bass line.
First rotate each individual chord type. Next, play the roots of each chord as a bass line. Voice each root in whatever octave you want. Rotate the bass line like you would rotate any melody. Don't change the starting note, except perhaps by an octave. Finally, play the rotated chords using the roots from the rotated bass line.
{| class="wikitable"
{| class="wikitable"
|+
|+
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|I - ^bIII - V - IV
|I - ^bIII - V - IV
|}
|}
Since downmajor rotates to upminor and vice versa, we get I^m - ^bIIIv - V^m - IV^m.
Since downmajor rotates to upminor and vice versa, we get I^m - ^bIIIv - V^m - IV^m.  


==== Rotating an Entire Song ====
==== Rotating an Entire Song ====
(to do)
We can rotate both a chord progression and an associated melody. Use the root-to-fifth rule for both.
{| class="wikitable"
|+
! rowspan="2" |lyrics
! colspan="2" |original
! colspan="2" |rotated
|-
!melody
!chords
!melody
!chords
|-
|Happy
|P5
| rowspan="4" |Iv


All these exercise apply to 12-edo, or any tuning system, but unless your guitar is isomorphic, the fretboard shapes won't simply rotate.
 
 
 
|P8
| rowspan="4" |I^m
 
 
 
 
|-
|Birth-
|vM6
|^m7
|-
|day
|P5
|P8
|-
|To
|P8
|P5
|-
|You
|vM7
| rowspan="5" |Vv
 
 
 
 
 
|^m6
| rowspan="5" |IV^m
 
 
 
 
 
|-
|Happy
|P5
|P8
|-
|Birth-
|M6
|^m7
|-
|day
|P5
|P8
|-
|To
|M9
|P4
|-
|You
|P8
|Iv
|P5
|I^m
|}
All these rotations work in 12-edo, or any tuning system, but unless your guitar is isomorphic, the fretboard shapes won't simply rotate.
[[Category:Kite Guitar]]
[[Category:Kite Guitar]]
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