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

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added the 12-equal Patt-tuning exercise, other minor changes
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You can add a vocal exercise to all this by singing what you play.
You can add a vocal exercise to all this by singing what you play.


=== Quarter-fret Bends, Sixth-fret Bends, etc. ===
=== Alternate Fingering Techniques ===
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. In practice, this 2nd may be voiced as a 7th or 9th. 
==== Cross-fret barre ====
{| class="wikitable"
When looking for a fingering, often a cross-fret barre (aka diagonal barre) is the solution. The closer fret spacing of the Kite guitar makes this much easier than it is on the 12-equal guitar. For example, 4 2 3 1 might be fingered as 3 1 2 1, and 2 4 4 3 1 as 1 3 4 2 1.
|+
fuzzy notes
! colspan="2" |if the chord has both...
! rowspan="2" |soloist
must bend
! colspan="8" rowspan="2" |example chords
|-
!plain
!upped or downed
|-
|root
|minor 7th
|the perfect 4th
|^7
|v7
|^m7
|vm7
|^d^7
|vdv7
|^9
|v9
|-
|4th
|minor 3rd
|the minor 7th
|^m,4
|vm,4
| colspan="6" |
|-
|5th
|major 6th
|the major 2nd
|^6
|v6
|^m6
|vm6
| colspan="4" |
|-
|9th
|major 3rd
|the major 6th
|^,9
|v,9
|^M9
|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.
 
The next use of quarter-fret bends is less essential. One can hide pitch shifts by sharpening an entire chord by some fraction of a half-fret. 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.
 
In 41-equal, 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 x 3 x 5 x, play matching harmonics at <10.5> x x x <25.5> x, and also at  x x <9.5> x <17> x. Note that <10.5> means the harmonic is midway between the 10th and 11th frets. For a 4 x 3 5 5 x 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 x 4 3 5 x x voicing, push your finger up towards the bass side. It's rather difficult to bend the 3rd in a close 4 4 3 5 x x 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.
 
==== Primes 11 and 13 ====
Whereas primes 5 and 7 are tuned slightly flat in 41-equal (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.
==== Harmonics ====
{| class="wikitable"
These are written as <12> for the 12th-fret harmonic. The 2nd harmonic falls midway between the 20th and 21st frets, and is written as <20.5>. Here are all the places harmonics occur, excluding those above the 41st fret. Be sure to pluck on an [[wikipedia:Node_(physics)|anti-node]].  
|+Augmented triads using primes 11 or 13
!chord
! colspan="2" |color name
!41-equal name
!example
!frets
!fingering
|-
|7:9:11
|ru loru-5
|r(1or5)
|up-downsharp5
|C^(v#5) = C ^E vG#
|4 5 4h
|1 3 2
|-
|8:10:13
|yo tho-6 no5
|y,3o6no5
|down-upsharp5
|Cv(^#5) = C vE ^G#
|4 4 5t
|1 2 3
|}
 
==== Alternate Fingering Techniques ====
When looking for a fingering, often a '''cross-fret barre''' (aka diagonal barre) is the solution. The closer fret spacing of the Kite guitar makes this a much more useful option than it is on the 12-equal guitar. For example, 4 2 3 1 might be fingered as 3 1 2 1, and 2 4 4 3 1 as 1 3 4 2 1.
 
'''Harmonics''' are written as <12> for the 12th-fret harmonic. The 2nd harmonic falls midway between the 20th and 21st frets, and is written as <20.5>. Here are all the places harmonics occur, excluding those above the 41st fret. Be sure to pluck on an [[wikipedia:Node_(physics)|anti-node]].  
{| class="wikitable"
{| class="wikitable"
|+
|+
Line 595: Line 502:
|}
|}
Note that the last equation, the harmonic is ~6¢ sharp of the 41-equal note.
Note that the last equation, the harmonic is ~6¢ sharp of the 41-equal note.
=== Quarter-fret Bends, Sixth-fret Bends, etc. ===
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. In practice, this 2nd may be voiced as a 7th or 9th. 
{| class="wikitable"
|+
fuzzy notes
! colspan="2" |if the chord has both...
! rowspan="2" |soloist
must bend
! colspan="8" rowspan="2" |example chords
|-
!plain
!upped or downed
|-
|root
|minor 7th
|the perfect 4th
|^7
|v7
|^m7
|vm7
|^d^7
|vdv7
|^9
|v9
|-
|4th
|minor 3rd
|the minor 7th
|^m,4
|vm,4
| colspan="6" |
|-
|5th
|major 6th
|the major 2nd
|^6
|v6
|^m6
|vm6
| colspan="4" |
|-
|9th
|major 3rd
|the major 6th
|^,9
|v,9
|^M9
|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.
The next use of quarter-fret bends is less essential. One can hide pitch shifts by sharpening an entire chord by some fraction of a half-fret. 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.
In 41-equal, 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, with a downmajor chord in R-5-10 (aka hi-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. As you play 4 x 3 x 5 x, play matching artificial harmonics at <10.6> x x x <25.5> x, and also at  x x <9.6> x <17> x (see harmonics above). For a 4 x 3 5 5 x 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 x 4 3 5 x x voicing, push your finger up towards the bass side. It's rather difficult to bend the 3rd in a close 4 4 3 5 x x 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.
==== Primes 11 and 13 ====
Whereas primes 5 and 7 are tuned slightly flat in 41-equal (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
!41-equal name
!example
!frets
!fingering
|-
|7:9:11
|ru loru-5
|r(1or5)
|up-downsharp5
|C^(v#5) = C ^E vG#
|4 5 4h
|1 3 2
|-
|8:10:13
|yo tho-6 no5
|y,3o6no5
|down-upsharp5
|Cv(^#5) = C vE ^G#
|4 4 5t
|1 2 3
|}


== Exercises and Techniques for Composers and Arrangers ==
== Exercises and Techniques for Composers and Arrangers ==
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