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

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[[Kite Guitar Exercises|Exercises]] for the [[The Kite Guitar|Kite Guitar]] by [[Kite Giedraitis]], assumes the downmajor tuning. They are for a 6-string guitar, but can be adapted to a 7- or 8-string. Once you master them, there's no need to practice them further, because you'll naturally reinforce these skills in the course of singing and playing actual songs.
[[Kite Guitar Exercises|Exercises]] for the [[The Kite Guitar|Kite Guitar]] by [[Kite Giedraitis]], assumes the downmajor tuning. They are for a 6-string guitar, but can be adapted to a 7- or 8-string. Once you master them, there's no need to practice them further, because you'll naturally reinforce these skills in the course of singing and playing actual songs.


== Exercises for Players ==
== Exercises and Techniques for Players ==
There are plenty of guitar exercises to make your fingers more agile or strong. They all apply to the Kite Guitar. These exercises help you navigate 41edo better.
There are plenty of guitar exercises to make your fingers more agile or strong. They all apply to the Kite Guitar. These exercises help you navigate 41edo better.


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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 half-up 4th, a moving bend that starts at the plain 4th and goes up <u>past</u> the half-up 4th and then back down sounds better. This is called a fuzzy 4th, specifically an upfuzzy 4th. But over a vm7 chord, we want a downfuzzy 4th. Either play the <u>down</u> 4th and bend it up, or play the plain 4th and bend it down (harder, see below).  
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 half-up 4th, a moving bend that starts at the plain 4th and goes up <u>past</u> the half-up 4th and then back down sounds better. This is called a fuzzy 4th, specifically an upfuzzy 4th. But over a vm7 chord, we want a downfuzzy 4th. Either play the <u>down</u> 4th and bend it up, or play the plain 4th and bend it down (harder, see below).  


Any chord that has two notes an upmajor or downmajor 2nd apart will create a fuzzy note:  
Any chord that has two notes an upmajor or downmajor 2nd apart will create a fuzzy note. The 2nd may be voiced as a 7th or 9th.  
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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.  


== Exercises for Composers and Arrangers ==
== Exercises and Techniques for Composers and Arrangers ==
These are not playing exercises for your fingers, but musical exercises for your mind.  
These are not playing exercises for your fingers, but musical exercises for your mind.  


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All these rotations work in 12-edo, or any tuning system, but unless your guitar is isomorphic, the fretboard shapes won't simply rotate.
All these rotations work in 12-edo, or any tuning system, but unless your guitar is isomorphic, the fretboard shapes won't simply rotate.
=== The Big Switcheroo ===
Like the previous exercise, this creates a new melody or chord progression from an old one. You simply swap up for down, so that upminor becomes downminor, etc. Swap intervals, not notes. The quality (major, minor, perfect, augmented or diminished) is unchanged. Plain intervals are unchanged. Mid intervals are unchanged, because they are simultaneously both double-up minor and double-down major. But the former would become double-downminor, and the latter double-up major.
{| class="wikitable"
|+
! rowspan="2" |lyrics
! colspan="2" |original
! colspan="2" |swapped
|-
!melody
!chords
!melody
!chords
|-
|Happy
|P5
| rowspan="4" |Iv
|P5
| rowspan="4" |I^
|-
|Birth-
|vM6
|^M6
|-
|day
|P5
|P5
|-
|To
|P8
|P8
|-
|You
|vM7
| rowspan="5" |Vv
|^M7
| rowspan="5" |V^
|-
|Happy
|P5
|P5
|-
|Birth-
|M6
|M6
|-
|day
|P5
|P5
|-
|To
|M9
|M9
|-
|You
|P8
|Iv
|P8
|I^
|}
This swapping has the effect of interchanging 5-limit with 7-limit-no-fives, and harmonic with subharmonic. Rotations also exchange harmonic with subharmonic, so rotating followed by switching preserves this property.
{| class="wikitable"
|+
! rowspan="2" |lyrics
! colspan="2" |original
! colspan="2" |rotated
! colspan="2" |swapped
|-
!melody
!chords
!melody
!chords
!melody
!chords
|-
|Happy
|P5
| rowspan="4" |Iv
|P8
| rowspan="4" |I^m
|P8
| rowspan="4" |Ivm
|-
|Birth-
|vM6
|^m7
|vm7
|-
|day
|P5
|P8
|P8
|-
|To
|P8
|P5
|P5
|-
|You
|vM7
| rowspan="5" |Vv
|^m6
| rowspan="5" |IV^m
|vm6
| rowspan="5" |IVvm
|-
|Happy
|P5
|P8
|P8
|-
|Birth-
|M6
|^m7
|vm7
|-
|day
|P5
|P8
|P8
|-
|To
|M9
|P4
|P4
|-
|You
|P8
|Iv
|P5
|I^m
|P5
|Ivm
|}
[[Category:Kite Guitar]]
[[Category:Kite Guitar]]
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