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How to make a Kite Guitar: Difference between revisions

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One way to get a 7 or 8-string acoustic is to convert a 12-string guitar. The neck will be sufficiently strong and there will be enough tuners. There's fewer strings but more courses, so the new fretboard may need to be wider than the old one. The fretboard overhang can be filled with bondo to create a nice-feeling neck. Another possibility is to convert a 6-string classical nylon-string to 7 or 8 strings. The fingerboard is wide enough that it may suffice as is. The tension is low enough that an extra string or two won't break the guitar. The 3 holes on each side of the headstock that the tuner pegs go through can be filled and 4 new holes drilled.
One way to get a 7 or 8-string acoustic is to convert a 12-string guitar. The neck will be sufficiently strong and there will be enough tuners. There's fewer strings but more courses, so the new fretboard may need to be wider than the old one. The fretboard overhang can be filled with bondo to create a nice-feeling neck. Another possibility is to convert a 6-string classical nylon-string to 7 or 8 strings. The fingerboard is wide enough that it may suffice as is. The tension is low enough that an extra string or two won't break the guitar. The 3 holes on each side of the headstock that the tuner pegs go through can be filled and 4 new holes drilled.


=== Number of frets ===
=== Nut width ===
A crucial decision when there are 7 or 8 strings, as too wide a nut is hard on the wrist, but too narrow a nut makes fretting cleanly difficult. Nylon strings need a wider nut not only because the strings themselves are wider, but also because they vibrate more widely than steel strings and need more room. See the Dimensions table here. See also [https://guitarplayerhq.com/7-string-guitar-nut-width/ guitarplayerhq.com/7-string-guitar-nut-width].
 
===Number of frets===
In any given key, the Kite guitar has multiple "rainbow zones" on the neck. Assuming the tonic falls in the "sweet spot" between the 4th and 11th fret, it takes about 28 frets to provide 2 zones in every key, but it takes the full 41 frets to provide 3 zones. This 3rd zone increases the range the lead guitarist has to solo in by a 5th or so. The highest frets are very tight, but still playable melodically. Chording is very difficult. Having a 41st fret makes intonating the guitar easier, see below. In general, if you can fit in 41 frets, do so.
In any given key, the Kite guitar has multiple "rainbow zones" on the neck. Assuming the tonic falls in the "sweet spot" between the 4th and 11th fret, it takes about 28 frets to provide 2 zones in every key, but it takes the full 41 frets to provide 3 zones. This 3rd zone increases the range the lead guitarist has to solo in by a 5th or so. The highest frets are very tight, but still playable melodically. Chording is very difficult. Having a 41st fret makes intonating the guitar easier, see below. In general, if you can fit in 41 frets, do so.
There is a 'home zone" around the 14th fret that is the rainbow zone when the low open string is the tonic. There is a 2nd home zone around the 28th fret. To get a complete 2nd home zone, one needs about 32 frets. This should be the minimum number of frets even on an acoustic or classical without a cutaway. Fortunately this translates to 19 12edo frets, which almost all guitars have.


The fret spacing is 1.7 times tighter than a 12-equal guitar. This chart compares it to the standard fret spacing. The spacing between the nut and the first fret is about the same as the space between the 12-equal 9th and 10th frets. Increasing the overall scale length will widen the spacing.
The fret spacing is 1.7 times tighter than a 12-equal guitar. This chart compares it to the standard fret spacing. The spacing between the nut and the first fret is about the same as the space between the 12-equal 9th and 10th frets. Increasing the overall scale length will widen the spacing.
[[File:Kite Guitar Fret chart.jpg|none|thumb]]
[[File:Kite Guitar Fret chart.jpg|none|thumb]]


=== Replacing each fret vs. replacing the entire fretboard ===
===Replacing each fret vs. replacing the entire fretboard===
When converting a guitar, it's best to replace the entire fretboard, rather than removing the frets and putting new frets in the old fretboard. The 41-equal 5th is 702.5¢, so two frets will be only 2.5¢ away from the old ones, two will be 5¢ away, etc. So the old and new fret slots overlap, making conversion difficult. The following table shows the distance from the old fret to the new fret for close pairs. One could just use the old slots (or even the old frets) and accept a few cents error. But in certain keys a 5¢ error will make the downmajor 6th or 10th that's already 6¢ flat a full 11¢ flat.
When converting a guitar, it's best to replace the entire fretboard, rather than removing the frets and putting new frets in the old fretboard. The 41-equal 5th is 702.5¢, so two frets will be only 2.5¢ away from the old ones, two will be 5¢ away, etc. So the old and new fret slots overlap, making conversion difficult. The following table shows the distance from the old fret to the new fret for close pairs. One could just use the old slots (or even the old frets) and accept a few cents error. But in certain keys a 5¢ error will make the downmajor 6th or 10th that's already 6¢ flat a full 11¢ flat.
{| class="wikitable"
{| class="wikitable"
|+distance between fret slots (center to center, scale = 25.5")
|+distance between fret slots (center to center, scale = 25.5")
!old fret
! old fret
|7
|7
|10
|10
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|17
|17
|24
|24
|29
| 29
|34
|34
|36
|36
|-
|-
!cents
!cents
|2.5¢
| 2.5¢
| -5¢
| -5¢
|5¢
|5¢
| -2.5¢
| -2.5¢
| -10¢
| -10¢
|7.5¢
| 7.5¢
|-
|-
!distance
!distance
|0.024"
|0.024"
| -0.040"
| -0.040"
|0.032"
|0.032"
| -0.013"
| -0.013"
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Removing the entire fretboard also has the advantage that you can get a pre-slotted computer-cut fretboard fairly cheaply that has extremely accurate slot placement (see below).  
Removing the entire fretboard also has the advantage that you can get a pre-slotted computer-cut fretboard fairly cheaply that has extremely accurate slot placement (see below).  


=== Fret Placement ===
When building a guitar, the bridge is positioned relative to the fretboard. When converting a guitar, it's crucial to place the fretboard accurately relative to the bridge. One method: first put the frets on the fretboard. Then clamp it to the neck using narrow wooden blocks that won't interfere with the strings. Then string it up, test the intonation, and adjust the fretboard placement as needed (see Saddle Compensation below). Finally, mark the correct position, remove the strings, and glue down the fretboard. These pictures illustrate the clamping on a standard 12-equal guitar:
[[File:Positioning a Kite Guitar fretboard.jpg|thumb|alt=|none]]
[[File:Positioning a Kite Guitar fretboard -2.jpg|thumb|alt=|none]]


To place the frets on a Kite guitar, simply replace the 12th root of 2 with the 41st root of 4. Or use this spreadsheet:
== Fret Placement ==
On a standard guitar, the nth fret is L * (1 - 2^(-n/12)) from the nut, where L is the scale length. On a Kite guitar, for an even-fret layout, it's L * (1 - 4^(-n/41)). In other words, simply replace the 12th root of 2 with the 41st root of 4. For the a-fret, use n = 0.5. Or use this spreadsheet:


http://tallkite.com/misc_files/KiteGuitarFretPlacementCalculator.ods
http://tallkite.com/misc_files/KiteGuitarFretPlacementCalculator.ods


As an alternative to doing the work yourself, various suppliers can make pre-slotted fingerboards. One option is [https://precisionpearl.com/ PrecisionPearl.com] which can make fingerboards complete with radius, taper and inlays. With that option, all you need to do is glue it on and put in the frets.
As an alternative to doing the work yourself, various suppliers can make pre-slotted fingerboards complete with radius, taper and inlays. All you need to do is glue it on and put in the frets.


=== Fret Markers ===
*[https://precisionpearl.com/ Precision Pearl] (Texas)
*[https://starrettguitars.com/ Starrett Guitars] (Colorado)
*[https://www.tonedevilharpguitars.com/ Tonedevil Guitars] (Idaho)
*[https://www.johnjansenmusic.com/discography-2 JLJ Instruments] (Maryland)
 
==Fret Markers==
On an even-frets layout, dots (fretboard markers) are placed every 4 frets in a cycle of single-double-triple. So, the 4th fret has a single dot, the 8th fret has double dots, the 12th fret has triple dots, and then the 16th fret is back to single, and so on. Thus, a 36-fret guitar (pictured) has 18 dots on 9 frets, and a 41-fret guitar has 19 dots on 10 frets.
On an even-frets layout, dots (fretboard markers) are placed every 4 frets in a cycle of single-double-triple. So, the 4th fret has a single dot, the 8th fret has double dots, the 12th fret has triple dots, and then the 16th fret is back to single, and so on. Thus, a 36-fret guitar (pictured) has 18 dots on 9 frets, and a 41-fret guitar has 19 dots on 10 frets.
[[File:Ovation fretboard.jpg|none|thumb|538x538px]]
[[File:Ovation fretboard.jpg|none|thumb|538x538px]]
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Because the frets get closer as one goes up the neck, the double dots are closer to the triple dots than the single dots. As a result, if the distance between the double dots is the same as the distance between any two of the triple dots, the side of each "kite" formed by the dots is a concave line. To make a nice straight line, the distance between the double dots needs to be increased by a factor of 2/(1+2^(-8/41)) = about 1.0675, i.e. 6.75% greater.
Because the frets get closer as one goes up the neck, the double dots are closer to the triple dots than the single dots. As a result, if the distance between the double dots is the same as the distance between any two of the triple dots, the side of each "kite" formed by the dots is a concave line. To make a nice straight line, the distance between the double dots needs to be increased by a factor of 2/(1+2^(-8/41)) = about 1.0675, i.e. 6.75% greater.


== String Gauges ==
==String Gauges==


A 6-string Kite guitar tuned in 3rds can be strung with a standard set of strings, but it's not ideal. The high strings will be somewhat slack, and the low strings will be somewhat tight. To find the appropriate gauges, use the D'Addario method: calculate each string's tension from its unit weight, length and pitch (frequency) by the formula T =  (UW  x (2 x L x F)<sup>2</sup>) / 386.4. For open strings, the length is the guitar's scale. The frequency in hertz of the Nth string of 8 strings tuned in the standard downmajor 3rds with a low string of vD is 440 * (2 ^ (-7/12 + (21 - 13*N) / 41)). For a 6-string guitar in mid-6 tuning, N ranges from 2 to 7. Or use the frequency table below. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). D'Addario has [https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf published] their unit weights, thus the individual tensions can be calculated for a given set of strings. One can work backwards from this and select string gauges/types that give uniform tensions using this spreadsheet: [https://tallkite.com/misc_files/StringTensionCalculator.ods TallKite.com/misc_files/StringTensionCalculator.ods] The desired tension depends on the instrument, and of course personal taste. A steel-string acoustic guitar might have 25-30 lbs. tension for each string. A 12-equal 25.5" electric guitar strung with a standard 10-46 set has 15-20 lbs. With a 9-42 set it has 13-16 lbs.   
A 6-string Kite guitar tuned in 3rds can be strung with a standard set of strings, but it's not ideal. The high strings will be somewhat slack, and the low strings will be somewhat tight. To find the appropriate gauges, use the D'Addario method: calculate each string's tension from its unit weight, length and pitch (frequency) by the formula T =  (UW  x (2 x L x F)<sup>2</sup>) / 386.4. For open strings, the length is the guitar's scale. The frequency in hertz of the Nth string of 8 strings tuned in the standard downmajor 3rds with a low string of vD is 440 * (2 ^ (-7/12 + (21 - 13*N) / 41)). For a 6-string guitar in mid-6 tuning, N ranges from 2 to 7. Or use the frequency table below. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). D'Addario has [https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf published] their unit weights, thus the individual tensions can be calculated for a given set of strings. One can work backwards from this and select string gauges/types that give uniform tensions using this spreadsheet: [https://tallkite.com/misc_files/StringTensionCalculator.ods TallKite.com/misc_files/StringTensionCalculator.ods] The desired tension depends on the instrument, and of course personal taste. A steel-string acoustic guitar might have 25-30 lbs. tension for each string. A 12-equal 25.5" electric guitar strung with a standard 10-46 set has 15-20 lbs. With a 9-42 set it has 13-16 lbs.   
* A longer scale means a higher tension or a smaller gauge or a lower pitch (frequency)
*A longer scale means a higher tension or a smaller gauge or a lower pitch (frequency)
* A higher tension means a longer scale or a bigger gauge or a higher pitch
*A higher tension means a longer scale or a bigger gauge or a higher pitch
* A bigger gauge means a shorter scale or a higher tension or a lower pitch
*A bigger gauge means a shorter scale or a higher tension or a lower pitch
* A higher pitch means a shorter scale or a higher tension or a smaller gauge
*A higher pitch means a shorter scale or a higher tension or a smaller gauge


Microtonalist and luthier Tom WInspear can provide custom string sets at his website [https://www.winspearinstrumental.com/ www.winspearinstrumental.com]. His approach is to extrapolate from familiar string sets. He says this about string gauges: "Gauges can be scaled at the same ratios as frequency. A 41-equal downmajor 3rd is 2^(13/41) = 1.2458, thus from string to string the gauge changes by 24.58%. But you can't do that across the plain to wound transition. To tune to different keys, increase the gauges by 5.95% for each 12-equal semitone of transposition, or 1.705% for each 41-equal step. All this assumes a 25.5" scale. For a scale of S inches, multiply each gauge by 25.5/S and round off. For scales longer than 25.5", err on the side of heavier and round up, as longer scales do feel more flexible loaded with the same tension. Likewise, for scales less than 25.5", err on the side of lighter and round down. However, the plain strings should always be rounded slightly down, and should utilize .0005" increment plain strings where available."  
Microtonalist and luthier Tom WInspear can provide custom string sets at his website [https://www.winspearinstrumental.com/ www.winspearinstrumental.com]. His approach is to extrapolate from familiar string sets. He says this about string gauges: "Gauges can be scaled at the same ratios as frequency. A 41-equal downmajor 3rd is 2^(13/41) = 1.2458, thus from string to string the gauge changes by 24.58%. But you can't do that across the plain to wound transition. To tune to different keys, increase the gauges by 5.95% for each 12-equal semitone of transposition, or 1.705% for each 41-equal step. All this assumes a 25.5" scale. For a scale of S inches, multiply each gauge by 25.5/S and round off. For scales longer than 25.5", err on the side of heavier and round up, as longer scales do feel more flexible loaded with the same tension. Likewise, for scales less than 25.5", err on the side of lighter and round down. However, the plain strings should always be rounded slightly down, and should utilize .0005" increment plain strings where available."  
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[https://www.juststrings.com/ JustStrings.com] sells custom gauges singly or in bulk. Recommended (somewhat light) gauges for a 27" acoustic guitar: '''11.5 15 18 24 30 36 46 56''' (3 plain, 5 wound). For a 25.5" or 26.5" electric: '''10 13 16 22 26 32 42 52''', the wound 4th string could instead be a '''19''' plain.  
[https://www.juststrings.com/ JustStrings.com] sells custom gauges singly or in bulk. Recommended (somewhat light) gauges for a 27" acoustic guitar: '''11.5 15 18 24 30 36 46 56''' (3 plain, 5 wound). For a 25.5" or 26.5" electric: '''10 13 16 22 26 32 42 52''', the wound 4th string could instead be a '''19''' plain.  


== Saddle and Nut Compensation ==
==Saddle and Nut Compensation==


Since the Kite guitar is so much more in tune than the 12-equal guitar, extra care should be taken with saddle compensation.
Since the Kite guitar is so much more in tune than the 12-equal guitar, extra care should be taken with saddle compensation.
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|3/2
|3/2
|3rd
|3rd
| 0.5¢ sharp
|0.5¢ sharp
|flatten by two cents
|flatten by two cents
|2/3 of string: between frets 32 and 33
|2/3 of string: between frets 32 and 33
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|9/4
|9/4
|9th
|9th
| 1¢ sharp
|1¢ sharp
|flatten by four-fifths of a cent
|flatten by four-fifths of a cent
|8/9 of string: past the fretboard up by the bridge
|8/9 of string: past the fretboard up by the bridge
|-
|-
|37
|37
|vmin 7th
| vmin 7th
|7/2
|7/2
|7th
|7th
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|the same
|the same
|flatten by one-third of a cent
|flatten by one-third of a cent
|1/4 of string: at the same fret 41
| 1/4 of string: at the same fret 41
|}
|}


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'''Final notes:'''  
'''Final notes:'''  
* String gauges affect compensation, so try to choose the correct gauges first.  
*String gauges affect compensation, so try to choose the correct gauges first.
* One can avoid nut compensation by using a zero fret or by having a very low action.
*One can avoid nut compensation by using a zero fret or by having a very low action.
* Adjustable saddle and nut for acoustic guitars (similar to electric guitars): https://www.portlandguitar.com/collections/bridges
*Adjustable saddle and nut for acoustic guitars (similar to electric guitars): https://www.portlandguitar.com/collections/bridges
For more on saddle and nut compensation, see
For more on saddle and nut compensation, see
* https://www.doolinguitars.com/intonation/intonation4.html (Mike Doolin)
*https://www.doolinguitars.com/intonation/intonation4.html (Mike Doolin)
* https://www.portlandguitar.com/pages/guitar-intonation (Jay Dickinson)
*https://www.portlandguitar.com/pages/guitar-intonation (Jay Dickinson)
* https://www.portlandguitar.com/pages/perfect-intonation-long-version (Jay Dickinson)
*https://www.portlandguitar.com/pages/perfect-intonation-long-version (Jay Dickinson)
* http://schrammguitars.com/intonation.html (John and William Gilbert)
*http://schrammguitars.com/intonation.html (John and William Gilbert)
* https://www.proguitar.com/academy/guitar/intonation/byers-classical (Greg Byers)
*https://www.proguitar.com/academy/guitar/intonation/byers-classical (Greg Byers)


== String Spacing ==
==String Spacing==
The easiest way to get an 8-string acoustic guitar is to convert a 12-string guitar. This leads to a very tight string spacing. The spacing can be slightly improved as follows:
The easiest way to get an 8-string acoustic guitar is to convert a 12-string guitar. This leads to a very tight string spacing. The spacing can be slightly improved as follows:


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!
!
!C2C
!C2C
!E2E
! E2E
!E2NE
!E2NE
!E2NE off-centeredness
!E2NE off-centeredness
Line 185: Line 198:
!2nd string
!2nd string
|D
|D
|D + R1 + R2
| D + R1 + R2
|D - x + R1
|D - x + R1
|x
|x
|-
|-
!3rd string
!3rd string
|2D
| 2D
|2D + R1 + 2R2 + R3
|2D + R1 + 2R2 + R3
|2D + R1 + R3
|2D + R1 + R3
Line 196: Line 209:
|-
|-
!4th string
!4th string
|3D
| 3D
|3D + R1 + 2R2 + 2R3 + R4
|3D + R1 + 2R2 + 2R3 + R4
|3D - x + R1 + R2 + R4
|3D - x + R1 + R2 + R4
Line 203: Line 216:
!5th string
!5th string
|4D
|4D
|4D + R1 + 2R2 + 2R3 + 2R4 + R5
| 4D + R1 + 2R2 + 2R3 + 2R4 + R5
|4D + R1 + 2R3 + R5
|4D + R1 + 2R3 + R5
| -x - (R3-R2) + (R4-R3) - (R5-R4)
| -x - (R3-R2) + (R4-R3) - (R5-R4)
|-
|-
!6th string
!6th string
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|x + (R3-R2) - (R4-R3) + (R5-R4) - (R6-R5)
|x + (R3-R2) - (R4-R3) + (R5-R4) - (R6-R5)
|-
|-
!7th string
! 7th string
|6D
|6D
|6D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + R7
|6D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + R7
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|-
|-
!8th string
!8th string
|7D
| 7D
|7D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + 2R7 + R8
|7D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + 2R7 + R8
|7D - x + R1 + R2 + 2R4 + 2R6 + R8
|7D - x + R1 + R2 + 2R4 + 2R6 + R8
Line 227: Line 240:
Note that the nut is slotted edge-to-next-edge but the bridge is edge-to-edge, so as one plays further up the neck, the spacing deviates from the ideal. Furthermore each string's sideways movement increases as you get away from the nut. But the spacing widens further up the neck, making fretting cleanly easier, so this is not a problem.  
Note that the nut is slotted edge-to-next-edge but the bridge is edge-to-edge, so as one plays further up the neck, the spacing deviates from the ideal. Furthermore each string's sideways movement increases as you get away from the nut. But the spacing widens further up the neck, making fretting cleanly easier, so this is not a problem.  


== Resources ==
==Resources==
[https://graphtech.com/pages/tusq-saddle Graphtech.com] carries a wide variety of tusq saddles (synthetic ivory) as well as other guitar parts.  
[https://graphtech.com/pages/tusq-saddle Graphtech.com] carries a wide variety of tusq saddles (synthetic ivory) as well as other guitar parts.  


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See also [[Extended range guitar]].  
See also [[Extended range guitar]].  


== Tables ==
==Tables ==


=== Cents ===
===Cents===
Every note on the Kite Guitar fretboard. The outer columns show the dots on the fretboard. The low note is vD and the tuning is in downmajor 3rds. The note names in the table are 12-equal, not 41-equal. The low vD is written  "D -29.3", meaning 12-equal D minus 29.3¢. The 7 natural notes in 41-equal are '''''<u>bolded and underlined italic</u>'''''. The full set of 41-equal names are here: [[:File:The Kite Tuning 5.png]]  
Every note on the Kite Guitar fretboard. The outer columns show the dots on the fretboard. The low note is vD and the tuning is in downmajor 3rds. The note names in the table are 12-equal, not 41-equal. The low vD is written  "D -29.3", meaning 12-equal D minus 29.3¢. The 7 natural notes in 41-equal are '''''<u>bolded and underlined italic</u>'''''. The full set of 41-equal names are here: [[:File:The Kite Tuning 5.png]]  
{| class="wikitable center-all"
{| class="wikitable center-all"
Line 253: Line 266:
!'''0'''
!'''0'''
!D
!D
! -29.3
!-29.3
!F#
!F#
!-48.8
!-48.8
Line 265: Line 278:
!-26.8
!-26.8
!C#
!C#
!-46.3
! -46.3
!E
!E
!+34.1
!+34.1
Line 292: Line 305:
|
|
|2
|2
| Eb
|Eb
| -12.2
| -12.2
|G
|G
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|'''<u>''B''</u>'''
|'''<u>''B''</u>'''
|'''<u>''+7.3''</u>'''
|'''<u>''+7.3''</u>'''
|Eb
| Eb
| -12.2
| -12.2
|G
|G
| -31.7
| -31.7
|Bb
|Bb
| +48.8
| +48.8
|D
|D
| +29.3
| +29.3
Line 352: Line 365:
|
|
|5
|5
|F
| F
| -36.6
| -36.6
|G#
|G#
Line 362: Line 375:
|G#
|G#
| -14.6
| -14.6
|C
| C
| -34.1
| -34.1
|Eb
|Eb
Line 373: Line 386:
|6
|6
|F
|F
| +22.0
| +22.0
|'''<u>''A''</u>'''
|'''<u>''A''</u>'''
|'''<u>''+2.4''</u>'''
|'''<u>''+2.4''</u>'''
| C#
|C#
| -17.1
| -17.1
| F
|F
| -36.6
| -36.6
|G#
|G#
| +43.9
| +43.9
| C
|C
| +24.4
| +24.4
|'''<u>''E''</u>'''
|'''<u>''E''</u>'''
Line 392: Line 405:
|
|
|7
|7
|F#
| F#
| -19.5
| -19.5
|Bb
|Bb
Line 406: Line 419:
|F
|F
| -36.6
| -36.6
| G#
|G#
| +43.9
| +43.9
|
|
Line 414: Line 427:
!F#
!F#
!+39.0
!+39.0
! Bb
!Bb
!+19.5
!+19.5
!'''<u>''D''</u>'''
!'''<u>''D''</u>'''
Line 424: Line 437:
!C#
!C#
!+41.5
!+41.5
! F
!F
!+22.0
!+22.0
!'''<u>''A''</u>'''
!'''<u>''A''</u>'''
Line 451: Line 464:
|-
|-
|
|
| 10
|10
|G#
|G#
| -43.9
| -43.9
Line 461: Line 474:
|'''<u>''-2.4''</u>'''
|'''<u>''-2.4''</u>'''
|B
|B
| -22.0
| -22.0
|Eb
|Eb
| -41.5
| -41.5
|F#
|F#
| +39.0
| +39.0
|Bb
|Bb
| +19.5
| +19.5
Line 504: Line 517:
!E
!E
!-24.4
!-24.4
!G#
! G#
!-43.9
!-43.9
!B
!B
Line 515: Line 528:
| +31.7
| +31.7
|C#
|C#
| +12.2
| +12.2
|'''<u>''F''</u>'''
|'''<u>''F''</u>'''
|'''<u>''-7.3''</u>'''
|'''<u>''-7.3''</u>'''
|A
|A
| -26.8
| -26.8
|C#
| C#
| -46.3
| -46.3
|E
|E
Line 553: Line 566:
|15
|15
|Bb
|Bb
| +48.8
| +48.8
|D
|D
| +29.3
| +29.3
|F#
|F#
| +9.8
| +9.8
|Bb
|Bb
| -9.8
| -9.8
Line 576: Line 589:
!Eb
!Eb
!-12.2
!-12.2
! G
!G
!-31.7
!-31.7
!Bb
!Bb
Line 626: Line 639:
|'''<u>''B''</u>'''
|'''<u>''B''</u>'''
|'''<u>''+7.3''</u>'''
|'''<u>''+7.3''</u>'''
|Eb
| Eb
| -12.2
| -12.2
|
|
|-
|-
|
|
| 19
|19
|C#
|C#
| -17.1
| -17.1
Line 642: Line 655:
|'''<u>''E''</u>'''
|'''<u>''E''</u>'''
|'''<u>''+4.9''</u>'''
|'''<u>''+4.9''</u>'''
|G#
| G#
| -14.6
| -14.6
|C
|C
Line 671: Line 684:
|-
|-
|
|
| 21
|21
|'''<u>''D''</u>'''
|'''<u>''D''</u>'''
|'''<u>''+0.0''</u>'''
|'''<u>''+0.0''</u>'''
Line 679: Line 692:
| -39.0
| -39.0
|C#
|C#
| +41.5
| +41.5
|F
|F
| +22.0
| +22.0
Line 685: Line 698:
|'''<u>''+2.4''</u>'''
|'''<u>''+2.4''</u>'''
|C#
|C#
| -17.1
| -17.1
|F
|F
| -36.6
| -36.6
Line 692: Line 705:
|
|
|22
|22
|Eb
| Eb
| -41.5
| -41.5
|F#
|F#
Line 742: Line 755:
!'''<u>''G''</u>'''
!'''<u>''G''</u>'''
!'''<u>''-2.4''</u>'''
!'''<u>''-2.4''</u>'''
! B
!B
!-22.0
!-22.0
!Eb
!Eb
!-41.5
! -41.5
!F#
!F#
!+39.0
!+39.0
Line 751: Line 764:
|-
|-
|
|
| 25
|25
|E
|E
| +34.1
| +34.1
Line 759: Line 772:
|'''<u>''-4.9''</u>'''
|'''<u>''-4.9''</u>'''
|E
|E
| -24.4
| -24.4
|G#
| G#
| -43.9
| -43.9
|B
|B
Line 823: Line 836:
!+31.7
!+31.7
!C#
!C#
! +12.2
!+12.2
!'''<u>''F''</u>'''
!'''<u>''F''</u>'''
!'''<u>''-7.3''</u>'''
!'''<u>''-7.3''</u>'''
! A
!A
!-26.8
!-26.8
!'''*'''
!'''*'''
|-
|-
|
|
| 29
|29
|G
|G
| -31.7
| -31.7
Line 844: Line 857:
|D
|D
| -29.3
| -29.3
| F#
|F#
| -48.8
| -48.8
|A
|A
Line 853: Line 866:
|30
|30
|G
|G
| +26.8
| +26.8
|'''<u>''B''</u>'''
|'''<u>''B''</u>'''
|'''<u>''+7.3''</u>'''
|'''<u>''+7.3''</u>'''
|Eb
|Eb
| -12.2
| -12.2
|G
|G
| -31.7
| -31.7
Line 873: Line 886:
|31
|31
|G#
|G#
| -14.6
| -14.6
|C
| C
| -34.1
| -34.1
|Eb
| Eb
| +46.3
| +46.3
| G
|G
| +26.8
| +26.8
|'''<u>''B''</u>'''
|'''<u>''B''</u>'''
|'''<u>''+7.3''</u>'''
|'''<u>''+7.3''</u>'''
|Eb
|Eb
| -12.2
| -12.2
|G
|G
| -31.7
| -31.7
Line 895: Line 908:
!+43.9
!+43.9
!C
!C
! +24.4
!+24.4
!'''<u>''E''</u>'''
!'''<u>''E''</u>'''
!'''<u>''+4.9''</u>'''
!'''<u>''+4.9''</u>'''
!G#
!G#
!-14.6
!-14.6
! C
!C
!-34.1
!-34.1
!Eb
!Eb
Line 919: Line 932:
| -36.6
| -36.6
|G#
|G#
| +43.9
| +43.9
|C
|C
| +24.4
| +24.4
Line 927: Line 940:
| -14.6
| -14.6
|C
|C
| -34.1
| -34.1
|
|
|-
|-
Line 934: Line 947:
|Bb
|Bb
| -39.0
| -39.0
| C#
|C#
| +41.5
| +41.5
|F
|F
Line 943: Line 956:
| -17.1
| -17.1
|F
|F
| -36.6
| -36.6
|G#
|G#
| +43.9
| +43.9
Line 953: Line 966:
|35
|35
|Bb
|Bb
| +19.5
| +19.5
|'''<u>''D''</u>'''
|'''<u>''D''</u>'''
|'''<u>''+0.0''</u>'''
|'''<u>''+0.0''</u>'''
Line 983: Line 996:
!'''<u>''+0.0''</u>'''
!'''<u>''+0.0''</u>'''
!F#
!F#
! -19.5
!-19.5
!Bb
!Bb
!-39.0
!-39.0
! C#
!C#
!+41.5
!+41.5
!'''* * *'''
!'''* * *'''
Line 1,002: Line 1,015:
|Eb
|Eb
| -41.5
| -41.5
| F#
|F#
| +39.0
| +39.0
| Bb
|Bb
| +19.5
| +19.5
|'''<u>''D''</u>'''
|'''<u>''D''</u>'''
Line 1,019: Line 1,032:
| -43.9
| -43.9
|B
|B
| +36.6
| +36.6
|Eb
|Eb
| +17.1
| +17.1
|'''<u>''G''</u>'''
|'''<u>''G''</u>'''
|'''<u>''-2.4''</u>'''
|'''<u>''-2.4''</u>'''
Line 1,033: Line 1,046:
|39
|39
|C#
|C#
| -46.3
| -46.3
|E
|E
| +34.1
| +34.1
Line 1,078: Line 1,091:
|A
|A
| +31.7
| +31.7
|C#
| C#
| +12.2
| +12.2
|'''<u>''F''</u>'''
|'''<u>''F''</u>'''
Line 1,084: Line 1,097:
|A
|A
| -26.8
| -26.8
| C#
|C#
| -46.3
| -46.3
|E
|E
Line 1,145: Line 1,158:
|274.46253
|274.46253
|548.92506
|548.92506
| 1097.8501
|1097.8501
|2195.7003
|2195.7003
|4391.4005
|4391.4005
Line 1,331: Line 1,344:
|182.92387
|182.92387
|365.84774
|365.84774
|731.69549
| 731.69549
| 1463.3910
|1463.3910
|2926.7819
|2926.7819
|5853.5639
|5853.5639
Line 1,366: Line 1,379:
|769.76287
|769.76287
|1539.5257
|1539.5257
| 3079.0515
|3079.0515
|6158.1030
|6158.1030
|-
|-
Line 1,443: Line 1,456:
|866.46760
|866.46760
|1732.9352
|1732.9352
| 3465.8704
|3465.8704
|6931.7408
|6931.7408
|-
|-
Retrieved from "https://en.xen.wiki/w/How_to_make_a_Kite_Guitar"