Kite Guitar Originals by Kite Giedraitis: Difference between revisions
→Triadic Etude: added a link to the video of it |
→Triadic Etude: changed title, added a melody line |
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== | == Downminor Etude== | ||
Video: http://tallkite.com/KiteGuitar/ | Video: [http://tallkite.com/KiteGuitar/Downminor%20Etude.m4v TallKite.com/KiteGuitar/Downminor Etude.m4v] | ||
Key: A downminor | Key: A downminor | ||
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vbVI^ Ivm vbVI^ Ivm | vbVI^ Ivm vbVI^ Ivm | ||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | | | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | (3x) | ||
| - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | | | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | | ||
5 | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - 5 | | 5 | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - 5 | | ||
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vbVI^ Ivm vbVI^ Ivm | vbVI^ Ivm vbVI^ Ivm | ||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - - - | | | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - - - | (2x) | ||
| - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - - - - | | | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - - - - | | ||
| 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - - | | | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - - | | ||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - | | | - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - | | ||
</tt> | </tt> | ||
Melody: | |||
<tt> | |||
|. . . . . . . .|. . . . . . . .|. . . . . . . .|. . . . . . . .| | |||
|. . vC D Eb D vC .| vC - - A - - . . |. . vC D Eb D vC . | A - - E - . E -| | |||
|vF - - - - . vF - | E - - - - . E - | Eb - - - - . Eb - | D - - - - . . . | | |||
|vF - D - . . . . | vF - D - . . vF - |E - E E - - vC A |- - - . . . . .| | |||
|vF - D - . . . . | vF - D - . . vF - |E - A'- - . E - |vG - A' - . . . .| | |||
|. . vG B'vA'vG F .|E - Bb'- . . E vD|vC# - vG - . . . .|Bb'vG . . Bb'vG . Bb'| | |||
|A'- vF vC - . . .|vG A' . vG A'. vG -|A'- vF vC - . . .|vG A' . vG A'. vG -| | |||
|A'- vF vC - . A'-|vG - E vC - . . .|. . vC D Eb D vC . | A - - E - . . .| | |||
</tt> | |||
Chords: | Chords: | ||
<tt> | <tt> | ||
vF^ Avm vF^ Avm | vF^ Avm vF^ Avm (3x) | ||
Dvm Gv Dv7 / | Dvm Gv Dv7 / | ||
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vG^ vG^m Evdim vC^9 | vG^ vG^m Evdim vC^9 | ||
vF^ Avm vF^ Avm | vF^ Avm vF^ Avm (2x) | ||
</tt> | </tt> | ||
== Blues in G == | == Blues in G== | ||
Loosely based on Lance Vallis' solo guitar piece in G | Loosely based on Lance Vallis' solo guitar piece in G | ||
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1st riff 2x | 1st riff 2x | ||
</tt> | </tt> | ||
== The Relative Song == | ==The Relative Song == | ||
So-called because it switches between relative major and minor. No roman numerals, because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression. | So-called because it switches between relative major and minor. No roman numerals, because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression. | ||
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| - - - - 0 - 0 0 | - 0 0 - 0 - 0 - | - - - - - - - - | - - - - 3 - 4 - | | | - - - - 0 - 0 0 | - 0 0 - 0 - 0 - | - - - - - - - - | - - - - 3 - 4 - | | ||
| - - - - - - - - | - - - - - - - - | 3 - 3 - 3 - 3 3 | - - - - - - - - | | | - - - - - - - - | - - - - - - - - | 3 - 3 - 3 - 3 3 | - - - - - - - - | | ||
</tt> | </tt> | ||
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^D^7 ^Gv7 | ^D^7 ^Gv7 | ||
</tt> | </tt> | ||
== The Tri-sub song == | ==The Tri-sub song== | ||
In 12edo, a tritone substitution changes V7-IM7 to bII7-IM7. In 41edo, the bII can be translated to either ^bII or vbII. This song uses both. I used a ^dim,v7 chord instead of the more standard ^dim7 chord because I liked how it led into the following chord. The final ^9 chord uses a very dissonant high-3 voicing which makes an extreme contrast with the very pleasant vM7 chord that it resolves to. | In 12edo, a tritone substitution changes V7-IM7 to bII7-IM7. In 41edo, the bII can be translated to either ^bII or vbII. This song uses both. I used a ^dim,v7 chord instead of the more standard ^dim7 chord because I liked how it led into the following chord. The final ^9 chord uses a very dissonant high-3 voicing which makes an extreme contrast with the very pleasant vM7 chord that it resolves to. | ||
IvM7 vVI^m9 | IvM7 vVI^m9 | ||
| - - 2 - 2 2 - - | - 2 - 2 - 2 2 - | - - 2 - 2 2 - - | - 2 - 2 - 2 2 - | (2x) | | - - 2 - 2 2 - - | - 2 - 2 - 2 2 - | - - 2 - 2 2 - - | - 2 - 2 - 2 2 - | (2x) | ||
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| 3 - - - - - - 2 | - - - - - - - - | | | 3 - - - - - - 2 | - - - - - - - - | | ||
| - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - - - - | | ||
== The Walking Song == | == The Walking Song== | ||
This song pumps the Zo comma, which maps to an entire fret. Start in Ab (6th string of 6, 1st dot) and slowly march up the fretboard. When you reach the 4th dot, you can continue by jumping down to the 4th string, 3rd fret. | This song pumps the Zo comma, which maps to an entire fret. Start in Ab (6th string of 6, 1st dot) and slowly march up the fretboard. When you reach the 4th dot, you can continue by jumping down to the 4th string, 3rd fret. | ||
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etc. | etc. | ||
</tt> | </tt> | ||
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<tt> | <tt> | ||
5 v3 1 ... 1 vb3 4 ... 4 v3 vb3 ... vb3 b5 ^^5 ... ^^5 ^3 ^^1 ... | 5 v3 1 ... 1 vb3 4 ... 4 v3 vb3 ... vb3 b5 ^^5 ... ^^5 ^3 ^^1 ... | ||
</tt> | </tt> | ||
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== II-V-I riff in A downmajor == | ==II-V-I riff in A downmajor == | ||
Play with a Bossa Nova feel. When translating IIm7 - V7 - IM7, I don't like to use a Vv7 chord, because it sounds to me more resolved than the IvM7. The I chord doesn't feel like the final chord, and the progression feels incomplete. I much prefer V^7 when resolving to IvM7. | Play with a Bossa Nova feel. When translating IIm7 - V7 - IM7, I don't like to use a Vv7 chord, because it sounds to me more resolved than the IvM7. The I chord doesn't feel like the final chord, and the progression feels incomplete. I much prefer V^7 when resolving to IvM7. | ||
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| 3 - - - 3 - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | | 3 - - - 3 - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
| - - - - - - - - | - - - - - - - - | 6 - - - - - - - | - - - 6 - - - - | | | - - - - - - - - | - - - - - - - - | 6 - - - - - - - | - - - 6 - - - - | | ||
</tt> | </tt> | ||
== Latrizo Pump riff == | ==Latrizo Pump riff== | ||
The Latrizo comma divides the 5th into three up-2nds. This riff walks up to the 5th and leaps back down. This song can't be translated to 12edo, as this video shows: | The Latrizo comma divides the 5th into three up-2nds. This riff walks up to the 5th and leaps back down. This song can't be translated to 12edo, as this video shows: | ||
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<tt> | <tt> | ||
Iv7 ^IIv7 vIVv7 Vv7 | Iv7 ^IIv7 vIVv7 Vv7 | ||
</tt> | </tt> | ||
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<tt> | <tt> | ||
1 ... 1 ^b2 ^2 ... ^2 ~3 v4 ... v4 b5 5 ... 5 --> 1 (slide down) | 1 ... 1 ^b2 ^2 ... ^2 ~3 v4 ... v4 b5 5 ... 5 --> 1 (slide down) | ||
</tt> | </tt> | ||
== 6-chord riff == | ==6-chord riff== | ||
One of the first songs I wrote on the Kite guitar. | One of the first songs I wrote on the Kite guitar. | ||
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| 7 - - 7 - - - - | 7 - - - - - - - | - - - - - - - - | - 3 - - - - - - | | | 7 - - 7 - - - - | 7 - - - - - - - | - - - - - - - - | - 3 - - - - - - | | ||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | 2 - - - - - - - | | | - - - - - - - - | - - - - - - - - | - - - - - - - - | 2 - - - - - - - | | ||
</tt> | </tt> | ||
== V7 - I7 riff == | ==V7 - I7 riff == | ||
A nice demo of the two kinds of dom7 chords. | A nice demo of the two kinds of dom7 chords. | ||
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| 2 - - - - - - - | - - - - - - 2 - | - - - - - - - - | - - - - - - - - | | | 2 - - - - - - - | - - - - - - 2 - | - - - - - - - - | - - - - - - - - | | ||
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - | | ||
</tt> | </tt> | ||
== Im7 - V7 riff == | ==Im7 - V7 riff== | ||
The Vv7 chord is fingered either xx4321 or x2x431. In other words, when the middle finger is playing the low bass note, the ring finger has to "cover" for it. | The Vv7 chord is fingered either xx4321 or x2x431. In other words, when the middle finger is playing the low bass note, the ring finger has to "cover" for it. | ||
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| 2 - - - - - - - | 2 - - - - - - - | - - - 4 - - - - | - - - - 4 - - - | | | 2 - - - - - - - | 2 - - - - - - - | - - - 4 - - - - | - - - - 4 - - - | | ||
| - - - - - - - - | - - - - - - - - | 5 - - - - - - - | 5 - - - - - - - | | | - - - - - - - - | - - - - - - - - | 5 - - - - - - - | 5 - - - - - - - | | ||
</tt> | </tt> | ||
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|| - - - - 6 - - - | - - - - - - 6 - | - - - - 6 - - - | - - - - - - - - || - - - - - - - - || | || - - - - 6 - - - | - - - - - - 6 - | - - - - 6 - - - | - - - - - - - - || - - - - - - - - || | ||
\\ // // | \\ // // | ||
</tt> | </tt> | ||
== Mid-9th riff == | ==Mid-9th riff == | ||
Is it Iv - Vvm(~5), or just one big v7,~9 chord? Who cares, it's the blues -- play it slow and bendy. | Is it Iv - Vvm(~5), or just one big v7,~9 chord? Who cares, it's the blues -- play it slow and bendy. | ||
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etc. | etc. | ||
</tt> | </tt> | ||
== James Bond riff == | == James Bond riff== | ||
The cadence from the last chord back to the first takes a 12edo cliche -- a dim 5th resolving inward to a major 3rd -- and makes it new by having an <U>up</U>dim 5th resolve to an <U>up</U>major 3rd. | The cadence from the last chord back to the first takes a 12edo cliche -- a dim 5th resolving inward to a major 3rd -- and makes it new by having an <U>up</U>dim 5th resolve to an <U>up</U>major 3rd. | ||
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[[Category:Kite Guitar]] | [[Category:Kite Guitar]] | ||