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A simple 12-bar blues by Aaron Wolf:  
A simple 12-bar blues by Aaron Wolf:  
* https://soundcloud.com/mbirakite/aaron-wolf-12-bar-blues-on-kite-guitar
* https://soundcloud.com/mbirakite/aaron-wolf-12-bar-blues-on-kite-guitar
"Evening Rondo" by Kite Giedraitis:
* https://soundcloud.com/tallkite/evening-rondo
An arrangement of Auld Lang Syne by Aaron Wolf:
An arrangement of Auld Lang Syne by Aaron Wolf:
* https://soundcloud.com/wolftune/fourthward-lang-syne
* https://soundcloud.com/wolftune/fourthward-lang-syne
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=== Videos and Podcasts ===
=== Videos and Podcasts ===
'''<u>Wilckerson Ganda:</u>''' https://www.youtube.com/watch?v=gQERKtbkMCE
'''<u>Travis Johnson:</u>''' https://www.youtube.com/watch?v=eAPzZ9oJYyY
'''<u>Timmy Barnett</u>:''' [http://tallkite.com/KiteGuitar/Downminor%20Etude.m4v TallKite.com/KiteGuitar/Downminor Etude.m4v] Guitar tab at [[Kite Guitar Originals by Kite Giedraitis#Downminor Etude]].
'''<u>Timmy Barnett</u>:''' [http://tallkite.com/KiteGuitar/Downminor%20Etude.m4v TallKite.com/KiteGuitar/Downminor Etude.m4v] Guitar tab at [[Kite Guitar Originals by Kite Giedraitis#Downminor Etude]].


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Kite Giedraitis and Aaron Wolf were hanging out one afternoon playing guitar, when Spencer Hargraves (Terry Maple, Jock Tears, Redrick Sultan) texted that he had a gig that night in Portland. They invited him over, and excitedly filled him in on the Kite guitar. Later Spencer told them he had secretly recorded the conversation.
Kite Giedraitis and Aaron Wolf were hanging out one afternoon playing guitar, when Spencer Hargraves (Terry Maple, Jock Tears, Redrick Sultan) texted that he had a gig that night in Portland. They invited him over, and excitedly filled him in on the Kite guitar. Later Spencer told them he had secretly recorded the conversation.
'''<u>Short cell phone videos with Jacob Collier</u>:'''
http://tallkite.com/videos/JacobCollier1.mp4 (29 sec)
http://tallkite.com/videos/JacobCollier2.mp4 (34 sec)
http://tallkite.com/videos/JacobCollier3.mp4 (1 min 29 sec)
Kite, Aaron and Caleb Ramsey with Jacob after his June 2019 show in Portland, on the sidewalk outside the venue.
[[File:Jacob Collier with a Kite Guitar 6-26-19.jpg|none|thumb]]


== About 41-equal ==
== About 41-equal ==
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| M2
| M2
|}
|}
All 41 intervals:
All 41 intervals (P = perfect, ~ = mid):
* P1  ^1  
* P1  ^1  
* vm2  m2  ^m2  ~2  vM2  M2  ^M2  
* vm2  m2  ^m2  ~2  vM2  M2  ^M2  
* vm3  m3  ^m3  ~3  vM3  M3  ^M3  
* vm3  m3  ^m3  ~3  vM3  M3  ^M3  
* v4  P4  ^4  ~4  vA4/d5  A4/^d5  ~5  v5  P5  ^5  
* v4  P4  ^4   
* ~4/vd5 vA4/d5  A4/^d5  ^A4/~5   
* v5  P5  ^5
* vm6  m6  ^m6  ~6  vM6  M6  ^M6   
* vm6  m6  ^m6  ~6  vM6  M6  ^M6   
* vm7  m7  ^m7  ~7  vM7  M7  ^M7   
* vm7  m7  ^m7  ~7  vM7  M7  ^M7   
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{| class="wikitable"
{| class="wikitable"
!step
!step
!cents
![[cents]]
! colspan="3" |[[Ups and Downs Notation]]
!degree
![[41edo solfege|solfege]]
!in C
! colspan="2" |[[Ups and Downs Notation]]
|-
|-
|0
|0
|0¢
|0¢
| rowspan="2" |1sns
|Da
|C
|P1
|perfect unison
|perfect unison
|P1
|D
|-
|-
|1
|1
|29
|29
|Du
|^C
|^1
|up-unison
|up-unison
|^1
|^D
|-
|-
|2
|2
|59
|59
|dup-unison, downminor 2nd
| rowspan="7" |2nds
|^^1, vm2
|Fro
|^^D, vEb
|vDb
|vm2
|downminor 2nd
|-
|-
|3
|3
|88
|88
|down-aug 1sn, minor 2nd
|Fra
|vA1, m2
|Db
|vD#, Eb
|m2
|minor 2nd
|-
|-
|4
|4
|117
|117
|augmented 1sn, upminor 2nd
|Fru
|A1, ^m2
|^Db
|D#, ^Eb
|^m2
|upminor 2nd
|-
|-
|5
|5
|146
|146
|Ri
|vvD
|~2
|mid 2nd
|mid 2nd
|~2
|^D#, vvE
|-
|-
|6
|6
|176
|176
|Ro
|vD
|vM2
|downmajor 2nd
|downmajor 2nd
|vM2
|vE
|-
|-
|7
|7
|205
|205
|Ra
|D
|M2
|major 2nd
|major 2nd
|M2
|E
|-
|-
|8
|8
|234
|234
|Ru
|^D
|^M2
|upmajor 2nd
|upmajor 2nd
|^M2
|^E
|-
|-
|9
|9
|263
|263
| rowspan="7" |3rds
|No
|vEb
|vm3
|downminor 3rd
|downminor 3rd
|vm3
|vF
|-
|-
|10
|10
|293
|293
|Na
|Eb
|m3
|minor 3rd
|minor 3rd
|m3
|F
|-
|-
|11
|11
|322
|322
|Nu
|^Eb
|^m3
|upminor 3rd
|upminor 3rd
|^m3
|^F
|-
|-
|12
|12
|351
|351
|Mi
|vvE
|~3
|mid 3rd
|mid 3rd
|~3
|^^F, vGb
|-
|-
|13
|13
|380
|380
|Mo
|vE
|vM3
|downmajor 3rd
|downmajor 3rd
|vM3
|vF#, Gb
|-
|-
|14
|14
|410
|410
|Ma
|E
|M3
|major 3rd
|major 3rd
|M3
|F#, ^Gb
|-
|-
|15
|15
|439
|439
|Mu
|^E
|^M3
|upmajor 3rd
|upmajor 3rd
|^M3
|^F#, vvG
|-
|-
|16
|16
|468
|468
| rowspan="3" |4ths
|Fo
|vF
|v4
|down-4th
|down-4th
|v4
|vG
|-
|-
|17
|17
|498
|498
|Fa
|F
|P4
|perfect 4th
|perfect 4th
|P4
|G
|-
|-
|18
|18
|527
|527
|Fu
|^F
|^4
|up-4th
|up-4th
|^4
|^G
|-
|-
|19
|19
|556
|556
|mid-4th
| rowspan="4" |tritones
|~4
|Fi, Sho
|^^G, vAb
|^^F, vGb
|~4, vd5
|mid-4th, downdim 5th
|-
|-
|20
|20
|585
|585
|Po, Sha
|vF#, Gb
|vA4, d5
|downaug 4th, dim 5th
|downaug 4th, dim 5th
|vA4, d5
|vG#, Ab
|-
|-
|21
|21
|615
|615
|Pa, Shu
|F#, ^Gb
|A4, ^d5
|aug 4th, updim 5th
|aug 4th, updim 5th
|A4, ^d5
|G#, ^Ab
|-
|-
|22
|22
|644
|644
|mid-5th
|Pu, Si
|~5
|^F#, vvG
|vvA
|^A4, ~5
|upaug 4th, mid-5th
|-
|-
|23
|23
|673
|673
| rowspan="3" |5ths
|So
|vG
|v5
|down-5th
|down-5th
|v5
|vA
|-
|-
|24
|24
|702
|702
|Sa
|G
|P5
|perfect 5th
|perfect 5th
|P5
|A
|-
|-
|25
|25
|732
|732
|Su
|^G
|^5
|up-5th
|up-5th
|^5
|^A
|-
|-
|26
|26
|761
|761
| rowspan="7" |6ths
|Flo
|vAb
|vm6
|downminor 6th
|downminor 6th
|vm6
|^^A, vBb
|-
|-
|27
|27
|790
|790
|Fla
|Ab
|m6
|minor 6th
|minor 6th
|m6
|vA#, Bb
|-
|-
|28
|28
|820
|820
|Flu
|^Ab
|^m6
|upminor 6th
|upminor 6th
|^m6
|A#, ^Bb
|-
|-
|29
|29
|849
|849
|Li
|vvA
|~6
|mid 6th
|mid 6th
|~6
|^A#, vvB
|-
|-
|30
|30
|878
|878
|Lo
|vA
|vM6
|downmajor 6th
|downmajor 6th
|vM6
|vB
|-
|-
|31
|31
|907
|907
|La
|A
|M6
|major 6th
|major 6th
|M6
|B
|-
|-
|32
|32
|937
|937
|Lu
|^A
|^M6
|upmajor 6th
|upmajor 6th
|^M6
|^B
|-
|-
|33
|33
|966
|966
| rowspan="7" |7ths
|Tho
|vBb
|vm7
|downminor 7th
|downminor 7th
|vm7
|vC
|-
|-
|34
|34
|995
|995
|Tha
|Bb
|m7
|minor 7th
|minor 7th
|m7
|C
|-
|-
|35
|35
|1024
|1024
|Thu
|^Bb
|^m7
|upminor 7th
|upminor 7th
|^m7
|^C
|-
|-
|36
|36
|1054
|1054
|Ti
|vvB
|~7
|mid 7th
|mid 7th
|~7
|^^C, vDb
|-
|-
|37
|37
|1083
|1083
|To
|vB
|vM7
|downmajor 7th
|downmajor 7th
|vM7
|vC#, Db
|-
|-
|38
|38
|1112
|1112
|Ta
|B
|M7
|major 7th
|major 7th
|M7
|C#, ^Db
|-
|-
|39
|39
|1141
|1141
|Tu
|^B
|^M7
|upmajor 7th
|upmajor 7th
|^M7
|C#^, vvD
|-
|-
|40
|40
|1171
|1171
| rowspan="2" |8ves
|Do
|vC
|v8
|dim 8ve
|dim 8ve
|v8
|vD
|-
|-
|41
|41
|1200
|1200
|Da
|C
|P8
|perfect 8ve
|perfect 8ve
|P8
|D
|}
|}
This chart shows 41-equal in terms of 12-equal. "-ish" means ±1 edostep. The 12 categories circled in red correspond to the notes of 12-equal. The two innermost and two outermost intervals are duplicates. [[File:41-edo_spiral.png|left|thumb|400x400px]] [[File:41-edo_spiral_with_notes.png|center|thumb|400x400px]]
This chart shows 41-equal in terms of 12-equal. "-ish" means ±1 edostep. The 12 categories circled in red correspond to the notes of 12-equal. The two innermost and two outermost intervals are duplicates. [[File:41-edo_spiral.png|left|thumb|400x400px]] [[File:41-edo_spiral_with_notes.png|center|thumb|400x400px]]
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There are two main types of tunings. '''Isomorphic tunings''' in 3rds facilitate playing 7-limit chords and chord progressions, and exploring the 7-limit lattice. '''Open tunings''' such as DADGAD facilitate exploring the 13-limit tonality diamond.  
There are two main types of tunings. '''Isomorphic tunings''' in 3rds facilitate playing 7-limit chords and chord progressions, and exploring the 7-limit lattice. '''Open tunings''' such as DADGAD facilitate exploring the 13-limit tonality diamond.  


There are two types of Kite guitar fretboards, even-frets and odd-frets. In the former, all or almost all of the frets are an even number of edosteps from the nut. In the latter, it's an odd number. The even-fret layout is for isomorphic tunings and the odd-frets layout is for open tunings.
There are two types of Kite guitar fretboards, even-frets and odd-frets. In the former, all or almost all of the frets are an even number of edosteps from the nut. In the latter, it's an odd number. In general, the even-fret layout is for isomorphic tunings and the odd-frets layout is for open tunings.


Isomorphic means "same shape", and there is only one shape to learn for any chord. The standard isomorphic tuning is the '''downmajor tuning''', in which adjacent open strings are tuned a downmajor 3rd apart. Alternative isomorphic tunings use an upminor 3rd or an upmajor 3rd. A '''dimorphic''' ("two shapes") tuning alternates downmajor 3rds with upminor 3rds, or 4ths with major 2nds. The drawback to dimorphism is that every chord has two shapes. The advantage is that the open strings make a diatonic scale.   
Isomorphic means "same shape", and there is only one shape to learn for any chord. The standard isomorphic tuning is the '''downmajor tuning''', in which adjacent open strings are tuned a downmajor 3rd apart. Alternative isomorphic tunings use an upminor 3rd or an upmajor 3rd. A '''dimorphic''' ("two shapes") tuning alternates downmajor 3rds with upminor 3rds, or 4ths with major 2nds. The drawback to dimorphism is that every chord has two shapes. The advantage is that the open strings make a diatonic scale.   
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But anyway, the two designs can coexist on the same fretboard by simply inserting an extra fret between the 1st and 2nd instead of moving the 2nd fret lower as I have done, and by varying the tuning of the open strings as you please. It's a fantastic way to access the resources of 41edo on a guitar, without having an absurd number of very closely-spaced frets!"
But anyway, the two designs can coexist on the same fretboard by simply inserting an extra fret between the 1st and 2nd instead of moving the 2nd fret lower as I have done, and by varying the tuning of the open strings as you please. It's a fantastic way to access the resources of 41edo on a guitar, without having an absurd number of very closely-spaced frets!"


How to implement the half-fret capo trick: An extra fret slot is cut to allow insertion of a temporary fret in between the 1st and 2nd (permanent) frets. (If the guitar has a zeroth fret, the temporary fret can go between the 0th and 1st frets.) The slot stops short of the treble side of the fretboard. So gravity holds it in place, plus of course the capo. The temporary fret has the barbs on the side of the tang filed off. The extra slot is a bit wider, so the fret can be pulled out easily. It goes in from the side, under the strings, so the strings don't need to be loosened. It can be inserted and removed on stage between songs. The fret is a bit longer, sticks out about 1 inch, so that you can pull it out easily. Putting a large piece of wide tape on the part that sticks out helps prevent it from being lost.  
How to implement the half-fret capo trick: An extra fret slot is cut to allow insertion of a temporary fret in between the nut and the 1st (permanent) fret, or if the action is too high to capo there, then between the 1st and 2nd (permanent) frets. The slot stops short of the treble side of the fretboard. So gravity holds it in place, plus of course the capo. The temporary fret has the barbs on the side of the tang filed off. The extra slot is a bit wider, so the fret can be pulled out easily. It goes in from the side, under the strings, so the strings don't need to be loosened. It can be inserted and removed on stage between songs. The fret is a bit longer, sticks out about 1 inch, so that you can pull it out easily. Putting a large piece of wide tape on the part that sticks out helps prevent it from being lost.  


Alternatively, the extra fret can be a permanent one. The extra fret is indicated in tablature by a letter: "a" if it's between the nut and the 1st fret, "b" if it's between the 1st and 2nd frets, etc.  
Alternatively, the extra fret can be a permanent one. The extra fret is indicated in tablature by a letter: "a" if it's between the nut and the 1st fret, "b" if it's between the 1st and 2nd frets, etc.  
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This chart is in relative not absolute notation, meaning it shows intervals not notes. At the bottom is P1, a perfect unison. This is the tonic of the scale, or the root of the chord. This chart shows all the intervals within easy reach of this note, up to an octave. There are four "rainbows": one of 2nds, one of 3rds, one of 6ths, and one of 7ths. These plus the 4th, 5th, 8ve, and a few other notes add up to 25 of the 41 notes. Every single ratio of [[odd-limit]] 9 or less appears here.  
This chart is in relative not absolute notation, meaning it shows intervals not notes. At the bottom is P1, a perfect unison. This is the tonic of the scale, or the root of the chord. This chart shows all the intervals within easy reach of this note, up to an octave. There are four "rainbows": one of 2nds, one of 3rds, one of 6ths, and one of 7ths. These plus the 4th, 5th, 8ve, and a few other notes add up to 25 of the 41 notes. Every single ratio of [[odd-limit]] 9 or less appears here.  
[[File:The Kite Tuning.png|none|thumb|416x416px]]
[[File:The Kite Tuning.png|none|thumb|416x416px]]
This chart boils the information down to the essentials: interval name and (via color) general type of ratio.
[[File:Fretboard 1d.png|423x423px]]
This chart is the same, but extends much further. Some ratios change in the higher octaves, e.g. 16/15 becomes not 32/15 but 15/7.
This chart is the same, but extends much further. Some ratios change in the higher octaves, e.g. 16/15 becomes not 32/15 but 15/7.
[[File:The Kite Tuning 2.png|none|thumb|900x900px]]
[[File:The Kite Tuning 2.png|none|thumb|900x900px]]
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In 12-equal, all 12 keys are needed so that a vocalist can get within 50¢ of their optimal range. In 41-equal, using only these 24 keys, one can get within 30¢ of the optimal range. 30¢ from optimal is sufficient, 15¢ from optimal is overkill, so the other 17 keys aren't really needed. Unless a song modulates by a single edostep, then one might be forced to play up the neck in an awkward key. Here's all the notes of the mid-6 tuning:
In 12-equal, all 12 keys are needed so that a vocalist can get within 50¢ of their optimal range. In 41-equal, using only these 24 keys, one can get within 30¢ of the optimal range. 30¢ from optimal is sufficient, 15¢ from optimal is overkill, so the other 17 keys aren't really needed. Unless a song modulates by a single edostep, then one might be forced to play up the neck in an awkward key. Here's all the notes of the mid-6 tuning:
[[File:Kite Guitar Fretboard for a 6-string.png|none|thumb|900x900px]]Kite guitars often have an extra fret between the nut and the first fret, called the a-fret, or between the first and second frets, called the a b-fret. Capoing at this fret raises the open strings by one edostep, as these charts show. This moves the first rainbow zone closer to the nut, which can solve many arranging problems. Capoing also enables various open tunings such as DADGAD.  
[[File:Kite Guitar Fretboard for a 6-string.png|none|thumb|900x900px]]Kite guitars often have an extra fret between the nut and the first fret, called the a-fret, or between the first and second frets, called the b-fret. Capoing at this fret raises the open strings by one edostep, as these charts show. This moves the first rainbow zone closer to the nut, which can solve many arranging problems. Capoing also enables various open tunings such as DADGAD.  
[[File:Fretboard chart w capo 1.png|none|thumb|900x900px]]
[[File:Fretboard chart w capo 1.png|none|thumb|900x900px]]
[[File:Fretboard chart w capo 2.png|none|thumb|900x900px]]
[[File:Fretboard chart w capo 2.png|none|thumb|900x900px]]
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