Kite Guitar chord shapes (downmajor tuning): Difference between revisions

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The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.

All three of these chords contain the chord shape 4 1 1. This 3-note "nugget" implies the Ruyoyo comma: 9/8 plus 5/4 equals 7/5. By itself, it's the v,7no5 chord in low-7 voicing. The v7(b5) chord in close voicing (4 4 1 1) also contains the octave inverse of this nugget, 4 4 1. By itself, this inverse nugget makes Cv(b5) = C vE Gb (odd-limit 9). Beware, "C-down flat-5" = Cv(b5) sounds much like "C downflat-5" = C(vb5) = C E vGb = C E ^^F. ~~Fortunately, the latter chord is very unlikely. But to be very clear~~, one could say "C-downmajor flat-5".

All three of these chords contain the chord shape 4 1 1. This 3-note "nugget" implies the Ruyoyo comma: 9/8 plus 5/4 equals 7/5. By itself, it's the v,7no5 chord in low-7 voicing. The v7(b5) chord in close voicing (4 4 1 1) also contains the octave inverse of this nugget, 4 4 1. By itself, this inverse nugget makes Cv(b5) = C vE Gb (odd-limit 9). Beware, "C-down flat-5" = Cv(b5) sounds much like "C downflat-5" = C(vb5) = C E vGb = C E ^^F = 8:10:11. To avoid ambiguity, one could say "C-downmajor flat-5".

The downaddflat5 chord Cv,b5 (odd-limit 15) has both a perfect and a diminished 5th. This chord is best voiced low-5. In other voicings, the two 5ths are on the same string, and one must play a riff that alternates between the two (indicated as 1/3 in the tab, 1st and 3rd fret).

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The Ruyoyo comma implies an augmented chord because it lets 5/4, 5/4 and 9/7 add up to 2/1. In 12-edo, the aug chord is symmetrical, and it is its own homonym. But in 41edo, it's asymmetrical. Its homonyms are also augmented chords, but of a different type. Thus there are three augmented chords: upaug, downaug and down-halfaug. Logically, the last chord should be called down-doubledownsharp5 or down-double-up5, but those names are rather long. Instead it's named after its half-augmented 5th. This 5th is spelled as vv#5 rather than ^^5 so that the interval from the 3rd to the 5th is spelled as vM3 not ^3m3.

There is another ~~group~~ of aug chords: up-halfaug, upminor-halfaug and up-sesquiaug, all homonyms. Their innate comma is the [[Sensamagic chords|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it'~~s debatable if it can~~ be called an augmented chord. The up-sesquiaug chord has ^^#5, a sesqui-augmented 5th ("sesqui-" means one-and-a-half). This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord.

There is another trio of aug chords: up-halfaug, upminor-halfaug and up-sesquiaug, all homonyms. Their innate comma is the [[Sensamagic chords|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it really can't be called an augmented chord. The up-sesquiaug chord has ^^#5, a sesqui-augmented 5th ("sesqui-" means one-and-a-half). This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord. In close voicing it uses every 3rd note of the [[Bohlen-Pierce|Bohlen-Pierce 13ED3 scale]].

~~The uphalfaug chord in~~ close voicing uses every 3rd note of the [[Bohlen-Pierce|Bohlen-Pierce 13ED3 scale]]. ~~Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5.~~

All six chords are odd-limit 9. Another possible aug chord is odd-limit 11. Unlike the others, it has no innate comma. 7:9:11 = up-downsharp5 = C^(v#5) = C ^E vG#. Unfortunately it's very difficult to finger. Using an open string, it's x56x0x. But see [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Primes 11 and 13]] for an alternative way to play this chord, as well as 8:10:13 = down-upsharp5 = Cv(^#5) = C vE ^G#.

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The updim7 and downdim7 chords are formed from stacked 6/5's and 7/6's, alternating to make 7/5's. The 7ths are rather dissonant. The updim7 chord has an innate Ruyoyo comma which equates its ^d7 = 42/25 to a M6 = 27/16. The downdim7 chord has an innate [[Mynucumic chords|Thuzozogu comma]] which equates vd7 = 49/30 with ~6 = 13/8. Thus its odd-limit and prime-limit are both 13.

In 12-edo, the dim7 chord is symmetrical, and is its own homonym. But in 41-edo, it has homonyms. The most plausible one has the 3rd becoming the new root to make a 6th chord. This is a chord with a minor 3rd, a dim 5th and a major 6th. Such a chord in 12edo is identical to a dim7 chord, but in 41edo it isn't. Extrapolating from the terms maj6 and min6 gives us its name, a dim6 chord. To convert an updim7 chord to an updim6 chord (or downdim7 to downdim6), raise the 7th by one edostep. Thus C updim7 is only one edostep away from C updim6, which is equivalent to ^A downdim7 chord. Therefore C updim7 and ^A downdim7 are '''~~fuzzy~~ homonyms'''. As are ^Eb downdim6 and ^A downdim7. ~~Fuzzy~~ homonyms are rare. They only occur when a chord spans 5 or 6 frets, as these do.

In 12-edo, the dim7 chord is symmetrical, and is its own homonym. But in 41-edo, it has homonyms. The most plausible one has the 3rd becoming the new root to make a 6th chord. This is a chord with a minor 3rd, a dim 5th and a major 6th. Such a chord in 12edo is identical to a dim7 chord, but in 41edo it isn't. Extrapolating from the terms maj6 and min6 gives us its name, a dim6 chord. To convert an updim7 chord to an updim6 chord (or downdim7 to downdim6), raise the 7th by one edostep. Thus C updim7 is only one edostep away from C updim6, which is equivalent to ^A downdim7 chord. Therefore C updim7 and ^A downdim7 are '''shifty homonyms'''. As are ^Eb downdim6 and ^A downdim7. Shifty homonyms are rare. They only occur when a chord spans 5 or 6 frets, as these do.

To avoid negative fret numbers, the chords start on the 6th fret. As with the triads, the cryptic superscripted-circle symbol for diminished can be replaced with the far more intuitive and obvious lower-case d.

To avoid negative fret numbers, the chords in the table start on the 6th fret. As with the triads, the cryptic superscripted-circle symbol for diminished can be replaced with the far more intuitive and obvious lower-case d.

{| class="wikitable"

!chord type -->

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|T . 4 (3) 2 1

|}

See also [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Modulation%20via%20Dim7%20Chords|Modulation via Dim7 Chords]] from "Kite Guitar Exercises and Techniques by Kite Giedraitis".

=== Mid-5th Chords ===

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 The down7flat5 chord (odd-limit 9) is also innate-ruyoyo. The interval from 5/4 up to 7/5 is 28/25, equivalent to 9/8. The homonym of Cv7(b5) is the Gb downadd7upflat5 chord Gbv,7(^b5) = Gb vBb ^Dbb Fb. Enharmonic equivalences: ^Dbb = C, Fb = vE, and upflat 5th = aug 4th = 10/7.
-All three of these chords contain the chord shape 4 1 1. This 3-note "nugget" implies the Ruyoyo comma: 9/8 plus 5/4 equals 7/5. By itself, it's the v,7no5 chord in low-7 voicing. The v7(b5) chord in close voicing (4 4 1 1) also contains the octave inverse of this nugget, 4 4 1. By itself, this inverse nugget makes Cv(b5) = C vE Gb (odd-limit 9). Beware, "C-down flat-5" = Cv(b5) sounds much like "C downflat-5" = C(vb5) = C E vGb = C E ^^F. Fortunately, the latter chord is very unlikely. But to be very clear, one could say "C-downmajor flat-5".
+All three of these chords contain the chord shape 4 1 1. This 3-note "nugget" implies the Ruyoyo comma: 9/8 plus 5/4 equals 7/5. By itself, it's the v,7no5 chord in low-7 voicing. The v7(b5) chord in close voicing (4 4 1 1) also contains the octave inverse of this nugget, 4 4 1. By itself, this inverse nugget makes Cv(b5) = C vE Gb (odd-limit 9). Beware, "C-down flat-5" = Cv(b5) sounds much like "C downflat-5" = C(vb5) = C E vGb = C E ^^F = 8:10:11. To avoid ambiguity, one could say "C-downmajor flat-5".
 The downaddflat5 chord Cv,b5 (odd-limit 15) has both a perfect and a diminished 5th. This chord is best voiced low-5. In other voicings, the two 5ths are on the same string, and one must play a riff that alternates between the two (indicated as 1/3 in the tab, 1st and 3rd fret).
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 The Ruyoyo comma implies an augmented chord because it lets 5/4, 5/4 and 9/7 add up to 2/1. In 12-edo, the aug chord is symmetrical, and it is its own homonym. But in 41edo, it's asymmetrical. Its homonyms are also augmented chords, but of a different type. Thus there are three augmented chords: upaug, downaug and down-halfaug. Logically, the last chord should be called down-doubledownsharp5 or down-double-up5, but those names are rather long. Instead it's named after its half-augmented 5th. This 5th is spelled as vv#5 rather than ^^5 so that the interval from the 3rd to the 5th is spelled as vM3 not ^<sup>3</sup>m3.
-There is another group of aug chords: up-halfaug, upminor-halfaug and up-sesquiaug, all homonyms. Their innate comma is the [[Sensamagic chords|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it's debatable if it can be called an augmented chord. The up-sesquiaug chord has ^^#5, a sesqui-augmented 5th ("sesqui-" means one-and-a-half). This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord.
+There is another trio of aug chords: up-halfaug, upminor-halfaug and up-sesquiaug, all homonyms. Their innate comma is the [[Sensamagic chords|Zozoyo comma]], which equates the octave with 9/7 plus 9/7 plus 6/5. Thus one 3rd is quite smaller than the other two. Only the uphalfaug is clearly an augmented chord. Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5. The upminor-halfaug chord's lowest 3rd is this small 3rd, and it really can't be called an augmented chord. The up-sesquiaug chord has ^^#5, a sesqui-augmented 5th ("sesqui-" means one-and-a-half). This is equivalent to a downmajor 6th, and again, it's debatable if this is really an augmented chord. In close voicing it uses every 3rd note of the [[Bohlen-Pierce|Bohlen-Pierce 13ED3 scale]].
-The uphalfaug chord in close voicing uses every 3rd note of the [[Bohlen-Pierce|Bohlen-Pierce 13ED3 scale]]. Since the 3rd is upped, the chord's 5th is spelled as ^^5 not vv#5.
 All six chords are odd-limit 9. Another possible aug chord is odd-limit 11. Unlike the others, it has no innate comma. 7:9:11 = up-downsharp5 = C^(v#5) = C ^E vG#. Unfortunately it's very difficult to finger. Using an open string, it's x56x0x. But see [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Primes 11 and 13]] for an alternative way to play this chord, as well as 8:10:13 = down-upsharp5 = Cv(^#5) = C vE ^G#.
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 The updim7 and downdim7 chords are formed from stacked 6/5's and 7/6's, alternating to make 7/5's. The 7ths are rather dissonant. The updim7 chord has an innate Ruyoyo comma which equates its ^d7 = 42/25 to a M6 = 27/16. The downdim7 chord has an innate [[Mynucumic chords|Thuzozogu comma]] which equates vd7 = 49/30 with ~6 = 13/8. Thus its odd-limit and prime-limit are both 13.
-In 12-edo, the dim7 chord is symmetrical, and is its own homonym. But in 41-edo, it has homonyms. The most plausible one has the 3rd becoming the new root to make a 6th chord. This is a chord with a minor 3rd, a dim 5th and a major 6th. Such a chord in 12edo is identical to a dim7 chord, but in 41edo it isn't. Extrapolating from the terms maj6 and min6 gives us its name, a dim6 chord. To convert an updim7 chord to an updim6 chord (or downdim7 to downdim6), <u>raise</u> the 7th by one edostep. Thus C updim7 is only one edostep away from C updim6, which is equivalent to ^A downdim7 chord. Therefore C updim7 and ^A downdim7 are '''fuzzy homonyms'''. As are ^Eb downdim6 and ^A downdim7. Fuzzy homonyms are rare. They only occur when a chord spans 5 or 6 frets, as these do.
+In 12-edo, the dim7 chord is symmetrical, and is its own homonym. But in 41-edo, it has homonyms. The most plausible one has the 3rd becoming the new root to make a 6th chord. This is a chord with a minor 3rd, a dim 5th and a major 6th. Such a chord in 12edo is identical to a dim7 chord, but in 41edo it isn't. Extrapolating from the terms maj6 and min6 gives us its name, a dim6 chord. To convert an updim7 chord to an updim6 chord (or downdim7 to downdim6), <u>raise</u> the 7th by one edostep. Thus C updim7 is only one edostep away from C updim6, which is equivalent to ^A downdim7 chord. Therefore C updim7 and ^A downdim7 are '''shifty homonyms'''. As are ^Eb downdim6 and ^A downdim7. Shifty homonyms are rare. They only occur when a chord spans 5 or 6 frets, as these do.
-To avoid negative fret numbers, the chords start on the 6th fret. As with the triads, the cryptic superscripted-circle symbol for diminished can be replaced with the far more intuitive and obvious lower-case d.
+To avoid negative fret numbers, the chords in the table start on the 6th fret. As with the triads, the cryptic superscripted-circle symbol for diminished can be replaced with the far more intuitive and obvious lower-case d.
 {| class="wikitable"
 !chord type -->
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 |T . 4 (3) 2 1
 |}
+See also [[Kite Guitar Exercises and Techniques by Kite Giedraitis#Modulation%20via%20Dim7%20Chords|Modulation via Dim7 Chords]] from "Kite Guitar Exercises and Techniques by Kite Giedraitis".
 === Mid-5th Chords ===