Kite Guitar translations by Kite Giedraitis: Difference between revisions
→Barbershop tags: added solfege |
→Tetradic Songs: added "Bye Bye Blackbird" |
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=== Bye Bye Blackbird (Ray Henderson and Mort Dixon) === | |||
Arranged by Kite with input from Timmy Barnett | |||
<tt> | |||
GvM7 / / / | |||
GvM7 Bb^d7 vA^m7 vD^7 | |||
vA^m7 / / vD^7 | |||
vA^m7 Dv7 GvM7 / | |||
Gv7 / vB^d^7 vEv7 | |||
vA^m7 / / Dv7 | |||
GvM7 / vB^d^7 vEv7 | |||
vA^m7 F#vdv7 GvM7 Dv7 | |||
</tt> | |||
<tt> | |||
IvM7 / / / | |||
IvM7 bIII^d7 vII^m7 vV^7 | |||
vII^m7 / / vV^7 | |||
vII^m7 Vv7 IvM7 / | |||
Iv7 / vIII^d^7 vVIv7 | |||
vII^m7 / / Vv7 | |||
IvM7 / vIII^d^7 vVIv7 | |||
vII^m7 VIIvdv7 IvM7 Vv7 | |||
</tt> | |||
The Bb^d7 chord can be thought of as a vA^7b9noR chord. In the first half, I used vD^7 because I love the sound of I^m7 - IV^7 (or IV^9). | |||
I translated all the original's Am7 chords to vA^m7 not plain A^m7, because the latter would have an ^G, and I wanted to keep the tonic G unchanging. This necessitates an offperfect root movement somewhere near the end of the first half. I chose for it to happen at vA to D. As Timmy pointed out, there's a problem with translating IIm7 - V7 to II^m7 - Vv7. The 4th of the scale shifts from an up-4th to a down-4th, an obvious shift of an entire fret. vA to D makes this a less noticeable shift of a half-fret. In the 2nd half, the 2nd line likewise uses vA and D roots. | |||
In the final line, I didn't want the vocal's held "bird" note to shift at all, not even by only a half fret. The solution is to use a vV^7 chord. The pitch shift from the vD chord's vD to the G chord's D is avoided by omitting the root. vD^9noR = F#vdv7. | |||
== Barbershop tags == | == Barbershop tags == | ||