Kite Guitar Exercises and Techniques by Kite Giedraitis: Difference between revisions
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added a section on primes 11 and 13. added a new exercise, moving by plain minor 2nds. |
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* vF vC vG vD vA vE vB vF#=Gb | * vF vC vG vD vA vE vB vF#=Gb | ||
* Db Ab | * Db Ab | ||
Because 41 is a prime number, any one of 41edo's intervals will generate a similar circle (except the octave of course). | Because 41 is a prime number, any one of 41edo's intervals will generate a similar circle (except the octave of course). | ||
=== Moving by Plain Minor 2nds === | |||
When translating from 12-edo to 41-edo, one may need to move by a major 2nd in two equal or nearly equal root movements. For example, the 12-edo chords might be IV7 -- #IV7 -- V7 or VIm -- bVIm -- V. Assuming the roots translate to IV, V and vVI, the former will involve splitting a plain major 2nd and the latter, a downmajor 2nd. | |||
To split a <u>plain</u> major 2nd, one moves by two frets then jumps to the final chord, e.g. IVv7 -- #IVv7 -- Vv7. Or one jumps to a root two frets from the final chord first, then moves two frets, as in IVv7 -- bVv7 -- Vv7. Either way, this jump is a plain minor 2nd = 3 edosteps. Jump up 1 string and back 5 frets = (+1,-5) in relative tab. Splitting an <u>upmajor</u> 2nd is even easier, since each of the two moves is a simple two-fret move. | |||
But splitting a <u>downmajor</u> 2nd is trickier. One must jump twice, and one of the jumps must backtrack by 8 frets. If one jump is (+1,-5), the other must be (-1,+8). If descending, they must be (-1,+5) and (+1,-8). This is not very intuitive, and it's worthwhile to practice rapidly executing these two jumps. Since the jumps can come in either order, practice both routes. Start with playing single notes, then play entire chords on each root. | |||
* Play a note not too close to the nut or heel and not on the highest or lowest string, for example D on the 5th string, 8th fret | |||
* Jump up (+1,-5) (-1,+8) then jump back down the same way i.e. (+1,-8) (-1,+5), making for example D Eb vE Eb D | |||
* Jump up (-1,+8) (+1,-5) then jump back down the same way | |||
* Repeat both exercises, but descending from D, making D C# ^C C# D | |||
Practicing 3 consecutive jumps will train you to split a vm3 into three equal moves (e.g. vbVIIv7 -- vVIv7 -- bVIv7 -- Vv7). | |||
* Play a note not too close to the nut and not on the highest or lowest string, for example D on the 5th string, 8th fret | |||
* Jump up (+1,-5) (-1,+8) (+1,-5) then jump back down the same way = D Eb vE vF vE Eb D | |||
* Descending: jump down (-1,+5) (+1,-8) (-1,+5) then jump back up the same way = D C# ^C ^B ^C C# D | |||
These two exercises will cover 90-95% of the cases. But for notes near the nut, the backtracking jump must come first. | |||
* Play a note near the nut, for example, B on the 5th string, 3rd fret | |||
* Jump up (-1,+8) (+1,-5) (+1,-5) then back down the same way = B C vC# vD vC# C B | |||
Ascending from a note on the 1st string requires two backtracking jumps. | |||
* Play a note on the 1st string, for example E on the 6th fret | |||
* Jump up (-1,+8) (+1,-5) (-1,+8) then back down the same way = E F Gb vG Gb F E | |||
Descending from a note on the lowest string also requires two backtracking jumps. Note that this exercise is impossible if starting on the lowest string too close to the nut, or the 1st string too close to the heel. | |||
Multiple ascending backtracking jumps will walk you through an off-zone and put you in the next higher rainbow zone. In general it's better to stay in one rainbow zone. But sometimes you may want to move to a higher range, and this maneuver avoids a large leap (see the next exercise). | |||
Moving exclusively by plain minor 2nds and upminor 2nds aka aug unisons = (0,+2) can imitate the sound of 12-edo quite closely. The exact order of the steps doesn't matter very much, just do whatever is comfortable. Try traversing these intervals: | |||
* The 4th = 3 m2's + 2 ^m2's | |||
* The 5th = 4 m2 + 3 ^m2 | |||
* The 8ve = 7 m2's + 5 ^m2's = the sum of the 4th and 5th | |||
To change zones, try traversing the 5th (+1,-5) (0,+2) (-1,+8) (0,+2) (+1,-5) (0,+2) (-1,+8). | |||
=== Leaping by 5ths, 8ves and Unisons === | === Leaping by 5ths, 8ves and Unisons === | ||
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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. In practice, this 2nd may be voiced as a 7th or 9th. | ||
{| class="wikitable" | {| class="wikitable" | ||
|+ | |+ | ||
fuzzy notes | |||
! colspan="2" |if the chord has both... | ! colspan="2" |if the chord has both... | ||
! rowspan="2" | | ! rowspan="2" |soloist | ||
! colspan=" | must bend | ||
! colspan="8" rowspan="2" |example chords | |||
|- | |- | ||
!plain | !plain | ||
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|^d^7 | |^d^7 | ||
|vdv7 | |vdv7 | ||
|^9 | |||
|v9 | |||
|- | |- | ||
|4th | |4th | ||
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|^m,4 | |^m,4 | ||
|vm,4 | |vm,4 | ||
| colspan=" | | colspan="6" | | ||
|- | |- | ||
|5th | |5th | ||
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|^m6 | |^m6 | ||
|vm6 | |vm6 | ||
| colspan=" | | colspan="4" | | ||
|- | |- | ||
|9th | |9th | ||
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|^M9 | |^M9 | ||
|vM9 | |vM9 | ||
|^9 | |||
|v9 | |||
| colspan="2" | | |||
|} | |} | ||
Both the top and bottom rows of the table apply to the dominant 9th chord, thus it has <u>two</u> fuzzy notes. | Both the top and bottom rows of the table apply to the dominant 9th chord, thus it has <u>two</u> fuzzy notes. | ||
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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. | ||
==== Primes 11 and 13 ==== | |||
Whereas primes 5 and 7 are tuned slightly flat in 41edo (5.8¢ and 3.0¢ respectively), primes 11 and 13 are slightly sharp (4.8¢ and 8.3¢ respectively). Thus ratios that have either 5 or 7 on one side and either 11 or 13 on the other are doubly mistuned. Bending up to ratios using 11 or 13 lets us fine-tune them. When primes 5 or 7 are present, best to underbend a bit, to match their flatness. This also makes primes 11 and 13 more accessible. For 13/8, the ^m6 is much easier to reach than the ~6. 11/6, 11/9 and 13/12 also become easier. | |||
11-over and 13-over ratios require just under a half-fret bend, or equivalently just over a third-fret bend. 11-under and 13-under ones require just over a half-fret bend. In this table of augmented chords, "h" means a half-fret bend and "t" means third-fret. This nomenclature could be expanded to q=quarter, f=fifth and s=sixth. | |||
{| class="wikitable" | |||
|+Augmented triads using primes 11 or 13 | |||
!chord | |||
! colspan="2" |color name | |||
!frets | |||
!fingering | |||
|- | |||
|7:9:11 | |||
|ru loru-5 | |||
|r(1or5) | |||
|4 5 4h | |||
|1 3 2 | |||
|- | |||
|8:10:13 | |||
|yo tho-6 no5 | |||
|y,3o6no5 | |||
|4 4 5t | |||
|1 2 3 | |||
|} | |||
== Exercises and Techniques for Composers and Arrangers == | == Exercises and Techniques for Composers and Arrangers == | ||