Kite Guitar translations by Kite Giedraitis
Kite Giedraitis's translations for the Kite Guitar. All tabs are for a guitar tuned in downmajor 3rds.
Tetradic Songs
Stormy Monday (T-Bone Walker, Bobby Bland, Allman Brothers)
This song showcases the 4:5:6:7 tetrad as the main chord for the blues.
Gv7 D^m vE^m Dvm Gv9 | Cv7 G^m vA^m Gvm Cv9
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Gv7 / ^Abv7 / | Gv7 / / /
|
Cv7 G^m vA^m Gvm Cv9 | Cv7 / / /
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Gv7 / vA^m7 / | vB^m7 / vBb^m7 /
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vA^m7 / / / | C^m7 / / /
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Gv7 / Cv7 / | Gv7 / Dvaug /
Chords for 6-string guitar (actual key is closer to A than G)
Gv7 6 . 5 3 7 . D^m . . 5 4 4 . fingering is 3 2 2 vE^m . . 8 7 7 . slide into this chord from the previous D^m Dvm . . 5 3 4 . actually the top part of a Gv9 chord, fingering is 3 1 2 Gv9 6 . 5 3 4 . actually a Gv9no3, fingering is 4 . 3 1 2 Cv7 . 8 8 7 5 . G^m . . . 7 6 6 fingering is 3 2 2 vA^m . . . 10 9 9 slide into this chord from the previous G^m Gvm . . . 7 5 6 fingering is 3 1 2 Cv9 . 8 . 7 5 6 fingering is 4 . 3 1 2 ^Abv7 8 . 7 5 9 . vA^m7 9 . 8 7 9 . vB^m7 . 6 . 5 4 6 vBb^m7 . 4 . 3 2 4 C^m7 . 8 7 7 6 . some people play a different chord here Dvaug . . 5 5 6 6 could be translated as Dv(^^5) which is . . 5 5 5 6
I Will Survive (Gloria Gaynor)
This song pumps the Saruyo comma, which equates 21/20 to 256/243. As a result, several pitches shift a comma flat during the progression, but then shift back to where they started. On the Kite guitar, the chord progression walks up the neck and then leaps down 12 frets, only to walk up back to where it started.
I^m7 IV^m7 bVIIv7 bIIIvM7 bVIvM7 IIvm7(b5) Vsus4 Vv7
Chords for a 6-string guitar in the key of vD upminor:
I^m7 . 8 . 7 6 8 IV^m7 . . 10 9 9 8 bVIIv7 11 . 10 8 12 . bIIIvM7 . 13 13 12 12 . bVIvM7 . 1 1 0 0 2 possible fingering . 1 2 . . 3 IIvm7(b5) . . 5 3 2 2 a down-halfdim chord Vsus4 6 . 5 7 9 . Vv7 6 . 5 3 7 .
Chords for 6-string guitar in the key of Bb upminor:
I^m7 8 . 7 6 8 . IV^m7 . 10 . 9 8 10 bVIIv7 . . 12 12 11 9 bIIIvM7 13 . 12 12 14 . bVIvM7 1 . 0 0 2 1 possible fingering 1 . . . 3 2 IIvm7(b5) . 5 3 2 2 . a down-halfdim chord Vsus4 . . 7 9 6 8 Vv7 . . 7 7 6 4
Manhattan Island Serenade (Leon Russell)
This particular translation adds 7ths to all the chords and features ^7 and ^9 chords resolving to ^m7 and v7 chords. The key is upminor, even though downminor is usually better than upminor for bluesy songs. But this song modulates to the relative major, and starting in downminor would lead to a dissonant upmajor key.
E^m7 / A^m7 / | B4 B^7 E^m7 /
|
^Cv7 / ^Gv7 / | ^Cv7 / ^Gv7 B4 B^7
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E^m7 / A^m7 / | B4 B^7 E^m7 /
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^Cv7 / ^Gv7 / | ^Cv7 / B4 B^7
^Gv7 ^Dv7 E^m7 ^Gv7 | ^Cv7 B^7 A^9 ^Cv7
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^Gv7 B^7 E^m7 ^Gv7 | ^Cv7 / ^Gv7 B^7
E^m7 ^Gv7 ^Cv7 / | A^9 ^Cv7 ^Gv7 / (coda)
In relative notation:
I^m7 / IV^m7 / | V4 V^7 I^m7 /
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^bVIv7 / ^bIIIv7 / | ^bVIv7 / ^bIIIv7 V4 V^7
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I^m7 / IV^m7 / | V4 V^7 I^m7 /
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^bVIv7 / ^bIIIv7 / | ^bVIv7 / V4 V^7
^bIIIv7 ^bVIIv7 I^m7 ^bIIIv7 | ^bVIv7 V^7 IV^9 ^bVIv7
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^bIIIv7 V^7 I^m7 ^bIIIv7 | ^bVIv7 / ^bIIIv7 V^7
I^m7 ^bIIIv7 ^bVIv7 / | IV^9 ^bVIv7 ^bIIIv7 / (coda)
Chords for six-string guitar in the key of Bb:
I^m7 7 . . 5 7 7 high-3-5 voicing, fingering is 2 1 3 4 IV^m7 . 9 . 8 7 9 V4 . . 6 8 5 7 fingering is 2 4 1 3 V^7 . . 6 7 5 4 fingering is 3 4 2 1, unfortunately an awkward shift from V4 ^bVIv7 . . 8 8 7 5 could instead use a low-5 voicing ^bIIIv7 . 6 . 5 3 7 ^bVIIv7 4 . 3 1 5 . IV^9 . 9 10 8 7 7
Girl From Ipanema (Antônio Carlos Jobim)
The famous melody is not written out, but for each chord, each note (i. e. pitch) of the melody is written once only. For example, the "Tall and tan and young and lovely" line has the melody 9 7 7 6 9 7 7 7, but only the notes 9 7 and 6 are shown. The melody notes are shown in 3 ways: a (string, fret) format that shows where it's played on guitar, the note's interval from the tonic, and the note's interval from the current chord's root.
The A part has an 81/80 comma issue. If the 3rd chord is rooted on II, its ^m7 (which is a prominent melody note) is an ^8, not an 8. This translation instead roots the chord on the vII, to avoid the melody straying from the tonic. If a bass line is added, the 2 - v2 melody might be awkward. Perhaps better to play the 4, changing the chord from vII^m7 to IVv6? Arguably a II^m7 chord would be better. Another possibility would be a IIm7 chord, but that's a little dissonant, also it's difficult to play on the Kite guitar.
In the B part, this translation has the song pumping the Layo comma, causing it to travel around the fingerboard quite a bit. The melody strays quite far from the original key, using e.g. ^5 and ^8. These notes seem far less offensive in the B part than in the A part, because there is no I chord in the entire B part.
The harmonies are translated as primarily 5-limit, except for dom7 chords which are of course 4:5:6:7. The key is B, which is far from the original key of F. That key was chosen so that the first #11 chord could take advantage of an open string. Unfortunately, the 2nd #11 chord can't do that, so a dom7addb5 chord is used instead.
In the two #11 chords near the end, the #11 could have been translated as 11/4, a ~11. But arguably the reason the 9th is flat is to justify/reinforce the #11. In 12-edo, the b9 along with the b7 and #11 create a harmonious 1st inversion major triad. In 41-edo, since the b7 is 7/4, the b9 must be 21/10 and the #11 must be 14/5. To make this upper structure clearer, in the chord name the 11th is called a b12, not a v#11.
IvM9 / IIv6 / | vII^m7 #Iv7(b5) IvM7 #Iv7(b5)
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#IvM7 / #IVv7 / | #I^m9 / ^VIv7 /
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^II^m9 / ~VIIv7 / | III^m7 VIv7b9b12 II^m7 Vv7b9b12
Chords with fingerings, for 6-string guitar:
----------CHORDS------------- -----MELODY NOTES-------------- --------REMARKS----------------------------
IvM9 9 9 8 8 7 . (2,7) (3,8) (3,5) (on guitar) If the melody is played/sung by another,
3 4 2 2 1 9 v7 6 (from tonic) the 9th is supplied by the melody,
9 v7 6 (from root) and this chord could be a vM7 chord instead.
IIv6 . 6 6 8 7 . (2,7) (3,8) (3,5)
1 1 3 2 9 v7 6
8 v6 5
vII^m7 12 11 11 10 . . (3,10) (4,11) (4,8) Could have been an ^m9 chord.
4 2 3 1 8 v6 5 Could also have been a II^m7 chord, see above.
^b7 5 ^4
#Iv7(b5) 11 11 8 8 . . (3,8) (4,8) (5,11) Could be called an ^bII chord.
3 4 1 1 v7 5 4
vb7 b5 v3
IvM7 9 9 8 8 . . (4,8) The fingering is chosen to easily slide into
3 4 1 1 5 the next chord.
5
#Iv7(b5) 11 11 8 8 . .
3 4 1 1
#IvM7 11 11 10 10 . . (3,10) (3,12) (4,13) Could have been an ^m9 chord.
3 4 1 1 8 ^b9 b7 Could be called an ^bII chord.
v7 8 v6
#IVv9no5 . 13 13 . 10 11 (4,10) (4,13) If the melody supplies the 9th, could be a v7 chord.
3 4 1 2 ^b6 b7
9 v10
#I^m9 11 10 10 9 9 . (2,9) (2,1) (3,12) If the melody supplies the 9th, could be a ^m7 chord.
4 3 2 2 1 ^b10 ^10 #8 The ^b10 from the tonic can be thought of as a #9.
9 ^b10 8
^VIv7 . 10 12 12 . 9 (3,9) (3,12) Should be a v9 chord, but not enough strings.
2 3 4 1 ^7 #8 Could start with a v7sus2 chord . 10 12 9 . 9 = 2 3 1 1
9 v10 then end the bar with the v7 chord shown here.
^II^m9 13 12 12 11 11 . (2,11) (2,13) (3,14) If the melody supplies the 9th, could be a ^m7 chord.
4 2 3 1 1 ^10 ~11 ^9
9 ^b10 8
~VIIv7 . 12 14 14 . 11 (3,11) (3,14) (2,11) (2,13) Again, should really be a v9 chord.
2 3 4 1 ^^8 ^9 ^10 ~11 Again, could start with a v7sus2 chord and end with a v7.
9 v10 b12 12
III^m7 . . 3 2 2 1 (2,16)(3,2)(3,5)(2,2)(2,4)(1,1)
4 2 3 1 ^12 ^5 6 7 ^8 ^9
^b10 ^b3 4 5 v6 ^b7
VIv7b9b12no3 4 . 3 1 0 2 (1,2) (1,4) Could instead be a v7b9b12no5 chord, 4 4 . 1 0 2
4 3 1 2 b10 10 If the melody supplies the b12th, could be a v7b9 chord,
b12 12 played as 4 4 3 1 0 .
II^m7 . 6 5 5 4 . (1,6)(4,5)(4,8)(3,5)(3,8)(2,4) (3,8) could be (2,2) = 7 = 6, or even (3,9) = ^7 = ^6
4 2 3 1 ^11 ^4 5 6 v7 ^8
^b10 ^b3 4 5 v6 ^b7
Vv7b5 . 6 8 8 5 5 (2,5) Should be a v7b9b12 chord, not enough strings or fingers!
2 3 4 1 1 b9 (Vv7b5 means add a flat 5, Vv7(b5) means flatten the 5.)
b5
vII^m9 (2,10) (3,10) (4,11) Ending melody: "When she passes I"
v10 8 v6 If the melody supplies the 9th, could be a ^m7 chord.
9 ^b7 5
#Iv7(b5) (1,9) (3,8) (4,11) "smile, but she doesn't"
12 v7 v6
b12 vb7 vb6
IvM7 (3,8) "see"
v7
v7
#Iv7(b5) (3,8) (4,1) "She just doesn't"
v7 v6
vb7 vb6
Killing Me Softly (Roberta Flack)
Arranged by Kite and Athan Spathas. Absolute notation:
chorus: E^m7 A^m7 Dv7 ^Gv GvM7
E^m7 Av6 Dv7 ^Cv7
^Gv6 ^Cv7 ^FvM7(b5) /
Ev N.C.
verse: A^m7 Dv7 ^Gv ^GvM7 ^CvM7
A^m7 Dv7 E^m7 /
A^m7 Dv6 ^Gv ^GvM7 Bv,^7
Relative notation:
chorus: I^m7 IV^m7 bVIIv7 ^bIIIv ^bVIvM7
I^m7 IVv6 bVIIv7 ^bVIv7
^bIIIv6 ^bVIv7 ^bIIvM7(b5) /
Iv N.C.
verse: IV^m7 bVIIv7 ^bIIIv ^bIIIvM7 ^bVIv
IV^m7 bVIIv7 I^m7 /
IV^m7 bVIIv6 ^bIIIv ^bIIIvM7 Vv,^7
This song pumps the Meantone comma, resulting in pitch shifts whenever a D chord is followed by an ^G chord. D shifts to ^D, but this shift can be masked by voicing the D an octave below the ^D. Stylistically, the ^Gv chord should be an ^GvM7 chord, but this creates another shift, vF# to F#. This shift is masked by delaying the F# note, in other words adding the 7th halfway through the ^Gv chord's duration. Thus the ^GvM7 chord is a passing chord. In the chorus, the bass line can use the 7th to walk down: ^G F# E. Alternatively, the D chords could become vD chords, but this would create other pitch shifts.
The ^FvM7(b5) chord could alternatively be an ^FvM9v#11 chord voiced 1-3-5-7-9-11 and fretted e.g. 4 4 3 3 2 2.
The melody uses the scale E vF# ^G A B ^C D E except for:
- Chorus, "Telling my whole life with his words", "life" and "his" are ^D
- Verse, 2nd line "heard" is ^D
- Verse, 4th line "listen" 2nd syllable is F#
- Verse, 5th line "was" and "young" are vB
- Verse, 6th line, "to my" is vD#
Alternatively, "was" and "young" could be plain B, and the Dv6 chord could be Dv7. But then the B and ^C in the melody might perhaps clash too much with the vC in the chord.
The v6 chords can be voiced 1-3-6-8. Without the 5th, the chord tends to "flip" to an ^m triad 1st inversion. But two things help reinforce it as a v6no5 chord: the doubling of the root at the octave, and the context of previous chord changes.
On a 6-string, with the tonic at the 5th string, 1st dot:
I^m7 . 4 . 3 2 4 IV^m7 . 4 6 5 . 4 VIIv7 7 . 6 4 8 . ^bIIIv . . 3 3 2 4 ^bIIIvM7 . . 3 3 2 2 IVv6 . . 6 6 8 7 ^bVIv7 4 . 3 1 5 . ^bIIIv6 . . 3 3 5 4 ^bIIvM7(b5) . 6 . 3 5 7 ^bVIvM7 4 . 3 3 5 . (or 4 . 3 3 5 4) VIIv6 7 . 9 8 8 . Vv,^7 2 . 1 0 3 2
Triadic Songs
I Will (The Beatles)
This song pumps the Meantone comma very rapidly. The Gvm7 chords could instead be G^m7 chords. Note the ^4 root movement from vD to G. Alternatively, a D root could be used.
Fv vD^m7 Gvm7 Cv7 | Fv vD^m vA^m
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Fv7 Bbv Cv7 vD^m | Fv Bbv Cv7
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Fv vD^m7 Gvm7 Cv7 |
Bbv vA^m vD^m7 / | Gvm7 Cv7 Fv Fv7
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Bbv vA^m vD^m7 / | Gv7 / Cv7 /
And I Love Her (The Beatles)
This song switches between relative major and minor so smoothly, it's hard to say what key it's in. Here it's written out as major.
This song has an ascending Meantone comma pump. While comma pumps are usually handled with pitch shifts, this is a rare example of a song for which tonic drift works. Tonic drift is easier to accept if it’s ascending, not descending. It only drifts up after the chorus, and this upward drift is arguably a nice touch. The Beatles changed key up a semitone at that point, and this is just a more subtle version of that.
1st verse: vII^m vVI^m vII^m vVI^m | vII^m vVI^m IVv Vv | Iv /
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chorus: vVI^m Vv vVI^m vIII^m | vVI^m vIII^m Vv Vv7 |
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2nd verse: II^m VI^m II^m VI^m | II^m VI^m ^IVv ^Vv | ^Iv /
Fast Car (Tracy Chapman)
For 6 strings. Key is vF#. Capo on the 5th or 6th fret for the key of vA or ^A. Main riff:
- - - 0 | - 0 - - | - - - - | - - - - 1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - 1 - 1 1 | - - - - | - - - - | - - - - - - - - | - - - - | - - - - | - - - - 2 - - - | - - 14 - | 14 - - 14 | - - 14 - - - - 0 | - - - - | 15 - - 12 | - - - -
This lacks the droning open string sound of the original. The solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. The repeated note on string 5 fret 14 is moved to string 3 fret 1. This also makes the switch from the 3rd to the 4th chord easier. Bolded notes are capo'ed:
- - - 0 | - 0 - - | - - - - | - - - - 1 3 1 - | - - - - | 15 (18) 15 13 | - 13 - - 1 - 1 1 | - - 1 - | 1 - - 1 | - - 1 - - - - - | - - - - | - - - - | - - - - 2 - - - | - - - - | - - - - | - - - - - - - 0 | - - - - | 15 - - 12 | - - - -
Chords for the strumming part:
IVv . 2 . 1 3 3 Iv 0 0 . 1 1 0 vVI^m . 0 2 1 1 3 Vv 12 . 11 13 13 .
Every Breath You Take (The Police)
The final chord of the verse section is sometimes Iv,9, sometimes vVI^m,9. The chords in the bridge are power chords, but I added the downmajor 3rd. The heavy distortion prevents adding a 12-edo 3rd, but the sweeter 41-edo 3rd works fine! Perhaps the downminor 7th could be added as well?
verse | Iv,9 / vVI^m,9 / | IV5,9 V5,9 Iv,9 / |
| | |
chorus | IV5,9 IV5,v7 Iv,9 / | IIv,9 / V5,9 / |
| | |
bridge | ^bVIv / ^bVIIv / | ^bVIv / ^bVIIv / | ^bVIv / |
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outro | Iv,9 / vVI^m,9 IV5,vM7 |
Tab for 6-string guitar, in the key of vB
verse - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9
- - - - | - - - - | - - - - | - - - -
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 -
- - - - | - - - - | - - - - | - - - -
2 - - - | - - - - | 2 - - - | - - - -
- - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - - vVI^m,9
- - 1 - | 3 1 - 1 | - - 1 - | 3 1 - 1
- - - - | - - - - | - - - - | - - - -
- 2 - 2 | - - 2 - | - 2 - 2 | - - 2 -
- - - - | - - - - | - - - - | - - - -
3 - - - | - - - - | 3 - - - | - - - -
- - - - | - - - - | - - 12 - | - - - - IV5,9 V5,9
- - 15 - | - - - - | - - - - | 15 - - -
- - - - | 18 - - - | - 13 - 13 | - 13 - 13
- 16 - 16 | - 16 - 16 | - - - - | - - - -
- - - - | - - - - | 14 - - - | - - 14 -
17 - - - | - - 17 - | - - - - | - - - -
- - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9
- - - - | - - - - | - - - - | - - - -
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 -
- - - - | - - - - | - - - - | - - - -
2 - - - | - - - - | 2 - - - | - - - -
- - - - | - - - - | - - - - | - - - -
chorus - - - - | - - - - | - - - - | - - - - IV5,9 IV5,v7
- - 15 - | - - - - | - - - - | - - - -
- - - - | 18 - - - | - - 18 - | 14 - - -
- 16 - 16 | - 16 - 16 | - 16 - 16 | - 16 - 16
- - - - | - - - - | - - - - | - - - -
17 - - - | - - 17 - | 17 - - - | - - 17 -
- - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9
- - - - | - - - - | - - - - | - - - -
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 -
- - - - | - - - - | - - - - | - - - -
2 - - - | - - - - | 2 - - - | - - - -
- - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - - IIv,9
- - 10 - | 13 - - - | - - 10 - | 13 - - -
- - - - | - - - - | - - - - | - - - -
- 11 - 11 | - 11 - 11 | - 11 - 11 | - 11 - 11
- - - - | - - - - | - - - - | - - - -
12 - - - | - - 12 - | 12 - - - | - - 12 -
- - 12 - | - - - - | - - 12 - | - - - - V5,9
- - - - | 15 - - - | - - - - | 15 - - -
- 13 - 13 | - 13 - 13 | - 13 - 13 | - 13 - 13
- - - - | - - - - | - - - - | - - - -
14 - - - | - - 14 - | 14 - - - | - - 14 -
- - - - | - - - - | - - - - | - - - -
bridge 17 - - - | - - - - | - - - - | - - - - ^bVIv
17 - - - | - - - - | - - - - | - - - -
15 - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - -
16 - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - -
14 - - - | - - - - | - - - - | - - - - ^bVIIv
12 - - - | - - - - | - - - - | - - - -
13 - - - | - - - - | - - - - | - - - -
13 - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - -
etc.
outro - - 0 - | 3 0 - 0 | - - 0 - | 3 0 - 0 Iv,9
- - - - | - - - - | - - - - | - - - -
- 1 - 1 | - - 1 - | - 1 - 1 | - - 1 -
- - - - | - - - - | - - - - | - - - -
2 - - - | - - - - | 2 - - - | - - - -
- - - - | - - - - | - - - - | - - - -
- - - - | - - - - | - - - - | - - - - vVI^m,9 IV5,vM7
- - 1 - | 3 1 - 1 | - - - - | - - - -
- - - - | - - - - | - - 18 - | 16 - - -
- 2 - 2 | - - 2 - | - 16 - 16 | - 16 - 16
- - - - | - - - - | - - - - | - - - -
3 - - - | - - - - | 17 - - - | - - 17 -
Hotel California (The Eagles)
The song doesn't pump any commas, because there are no common notes between the last few chords. There are two approaches to translating the verse. One way avoids pitch shifts between adjacent chords:
I^m Vv ^bVIIv ^IVv ^^bVIv ^^bIIIv ^IV^m Vv7
This arrangement travels down the neck, only to rapidly climb back up in the last two measures. The melody strays from the key.
Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords. The shift can be lessened by bending the entire VII chord sharp a third-fret, and bending the next chord sharp a sixth-fret.
I^m Vv bVIIv IVv ^bVIv ^bIIIv IV^m Vv7
The chorus is straightforward:
^bVIv ^bIIIv Vv7 I^m ^bVIv ^bIIIv IV^m Vv7
Stairway To Heaven intro (Led Zeppelin)
This piece is harmonically quite simple, entirely 5-limit. Included because it's the classic guitar show-off piece! This translation is note for note, except the voicing of the final ^bVIIv chord is changed from 1 8 10 15 to 8 10 12 15. No comma issues, except for the ^bVIIv - IV4 chord change. The IV4 chord is very brief, so the ^b7 to b7 pitch shift isn't too problematic. Or perhaps bend the b7 up half a fret or so, to match the previous ^b7, makes the chord be IV(^4).
Tablature in ^A for 6-string guitar, h = hammer on, p = pull off
I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m
- - - - 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - -
- - - 21 - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - -
- - 19 - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - -
- 19 - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - 7* 5
20 - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - 6 - -
*slide up to this note
I^m Vv,^m6 ^bIIIv IVv ^bVIv ^bVIIv I^m
- - - 6 18 - - 18 20 - - 20 9 - - 9 6 - - - - 6 - - - - - - - - - -
- - 6 - - - - - - - - - - 9 - - - 6 - 6 - - 6 - 4 6 6 - - - - -
- 7 - - - 19 - - - 19 - - - - 7 - - - 7 - - - - 7 4 7 7 - - - - -
- - - - - - 19 - - - 19 - 8 - - - 7 - - - - - - - 2 5 5 - - - - -
- - - - 18 - - - 17 - - - - - - - - - - - - - - - 3 - - - - - - 3
6 - - - - - - - - - - - - - - - - - - - - - - - - 6 6 - - - 6 -
^bIIIv IVv ^bVIvM7 I^m ^bIIIv ^bVIIv IV4 IVv
- - - - 9 - - 9 6 - - 6 - - - - - - - - - - - - 11* 9 9 - - - - -
- - - 6 - 9 - - - 6 - - 4h6- - - 6 - - 6 18 - - 18 9 9 9 - - - - -
- - 4 - - - 7 - - - 7 - - 7 - - - 4 - - - 16 - - 7 7 7 - - - - -
- 5 - - - - - - 7 - - - - - - - - - 5 - - - 17 - - - - - - - - -
5 - - - 8 - - - - - - - - - - 3 5 - - - 17 - - - 8 - 8 - - - - 3
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - 6 -
*11p9 (pull-off)
^bIIIv IVv ^bVIvM7 I^m ^bIIIv IVv ^bVIvM7
- - - - 9 - - 9 6 - - 6 - - - - - - - - - - - 9 6 6 6 - - - - -
- - - 6 - 9 - - - 6 - - 4h6- - - - - - 6 - - 9 - 6 6 6 - - - - -
- - 4 - - - 7 - - - 7 - - 7 - - - - 4 - - 7 - - 7 7 7 - - - - -
- 5 - - - - - - 7 - - - - - - - - 5 - - - - - - 7 7 7 - - - - -
5 - - - 8 - - - - - - - - - - 3 5 - - - 8 - - - - - - - - - - -
- - - - - - - - - - - - 6 - 6 - - - - - - - - - - - - - - - - -
Greensleeves (traditional)
The 2nd chord in the first two lines, ^bVIIv, is an optional passing chord. The V7 chord is translated as Vv,^m7, because Vv7 sounds inappropriate for Renaissance music. The chord is voiced 1-5-7-10, and the interval from the 7th up to the 10th is a mid 4th. 41-edo flattens this 25/18 interval nearly down to 11/8. Somehow 11/8 sounds less out of place than 10/7! The melody uses the up 4th, to match this chord and also the ^bVIIv chord. The plain 4th is only used as part of the IV^m chord.
The 3rd note of both the 3rd quarter and the 4th quarter of the song ("Greensleeves was my") is controversial. Some say it's a major 6th, some say minor. In the tabs, both possibilities are shown.
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv IV^m | Vv /
| | |
Ivm (^bVIIv) ^bIIIv | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m /
| | |
^bIIIv / | ^bVIIv V^m | ^bVIv IV^m | Vv /
| | |
^bIIIv / | ^bVIIv V^m | ^bVIv Vv,^m7 | I^m /
It's hard to match the usual 12-edo guitar version with just 6 strings. 8 strings is really needed for that.
6-string tab in F minor:
Ivm ^bIIIv ^bVIIv V^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . 2 . | 5 . . 7 5 . | 2 . . . . . | . . . . . . |
| 5 . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . |
6 . | . . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . |
| 4 . . . . . | . . . . . . | 1 . . . . . | 4 . . . . . |
| . . . . . . | 4 . . . . . | . . . . . . | 2 . . . . . |
^bVIv IV^m Vv
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
| 6 . . . 6 . | 6 . . 4 6 . | 4 . . . 4 . | . . . . 6 . |
| 6 . . . . . | 6 . . . . . | 4 . . . . . | 4 . . . . . |
| 4 . . . . . | 7 . . . . . | . . . . . . | 2 . . . . . |
Ivm ^bIIIv ^bVIIv V^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . 2 . | 5 . . 7 5 . | 2 . . . . . | . . . . . . |
| 5 . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . |
| . . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . |
| 4 . . . . . | . . . . . . | 1 . . . . . | 4 . . . . . |
| . . . . . . | 4 . . . . . | . . . . . . | 2 . . . . . |
^bVIv Vv,^m7 I^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . 3 . . | . . . . . . | . . . . . . | . . . . . . |
| 6 . . . 6 . | 4 . . 1 4 . | 6 . . . . . | 6 . . . . . |
| 6 . . . . . | 1 . . . . . | 4 . . . 4 . | . . . . . . |
| 4 . . . . . | 2 . . . . . | 4 . . . . . | . . . . . . |
^bIIIv ^bVIIv V^m
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or
| 5 . . . . . | . . . 7* 5 . | 2 . . . . . | . . . . . . | the other,
| . . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . | not both
| 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . |
| . . . . . . | 4 . . . . . | 1 . . . . . | 4 . . . . . |
| 4 . . . . . | . . . . . . | . . . . . . | 2 . . . . . |
^bVIv IV^m Vv
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
| 6 . . . 6 . | 6 . . 4 6 . | 4 . . . 4 . | . . . . 6 . |
| 6 . . . . . | 6 . . . . . | 4 . . . . . | 4 . . . . . |
| 4 . . . . . | 7 . . . . . | . . . . . . | 2 . . . . . |
^bIIIv ^bVIIv V^m
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * see above
| 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | 3 . . . 3 . | . . . . 3 . |
| 3 . . . . . | 3 . . . . . | 3 . . . . . | 3 . . 6 . . |
| . . . . . . | . . . . . . | 1 . . . . . | 4 . . . . . |
| 4 . . . . . | 4 . . . . . | . . . . . . | 2 . . . . . |
^bVIv Vv,^m7 I^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . 3 . . | . . . . . . | . . . . . . | . . . . . . |
| 6 . . . 6 . | 4 . . 1 4 . | 6 . . . . . | 6 . . . . . |
| 6 . . . . . | 1 . . . . . | 4 . . . 4 . | . . . . . . |
| 4 . . . . . | 2 . . . . . | 4 . . . . . | . . . . . . |
8-string tab in vA upminor:
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . 2 . | 5 . . 7 5 . | 2 . . . . . | . . . . . . |
| 5 . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . |
6 . | . . . . (3) . | . . 3 . . . | . . . . . . | 3 . . 6 . . |
| . . 4 . . . | . . . . . . | . . 1 . . . | 4 . . . . . |
| . . . . (2) . | 4 . . . . . | . . . . . . | . . 2 . . . |
| 5 . . . . . | . . . . . . | 2 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | 3 . . . . . |
^bVIv IV^m Vv
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
| 6 . . . 6 . | 6 . . 4 6 . | 4 . . . 4 . | . . . . 6 . |
| . . . . . . | 6 . . . . . | . . . . . . | 4 . . . . . |
| . . 4 . . . | . . 7 . . . | . . 2 . . . | . . 2 . . . |
| . . . . . . | 5 . . . . . | . . . . . . | . . . . . . |
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
Ivm (^bVIIv) ^bIIIv ^bVIIv V^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . 2 . | 5 . . 7 5 . | 2 . . . . . | . . . . . . |
| 5 . . . . . | 5 . . . . . | 3 . . . 3 . | . . . . 3 . |
| . . . . (3) . | . . 3 . . . | . . . . . . | 3 . . 6 . . |
| . . 4 . . . | . . . . . . | . . 1 . . . | 4 . . . . . |
| . . . . (2) . | 4 . . . . . | . . . . . . | . . 2 . . . |
| 5 . . . . . | . . . . . . | 2 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | 3 . . . . . |
^bVIv Vv,^m7 I^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . 3 . . | . . . . . . | . . . . . . | . . . . . . |
| 6 . . . 6 . | 4 . . 1 4 . | 6 . . . . . | 6 . . . . . |
| . . . . . . | 1 . . . . . | 4 . . . 4 . | . . . . . . |
| . . 4 . . . | . . 2 . . . | . . 4 . . . | . . . . . . |
| . . . . . . | . . . . . . | 5 . . . . . | 5 . . . . . |
| 5 . . . . . | 3 . . . . . | . . . . . . | . . . . . . |
^bIIIv ^bVIIv V^m
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * play one or
| 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . | the other,
| . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . | not both
| . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . |
| . . . . . . | . . . . . . | . . 1 . . . | 4 . . . . . |
| 4 . . . . . | 4 . . . . . | . . . . . . | . . 2 . . . |
| . . . . . . | . . . . . . | 2 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | 3 . . . . . |
^bVIv IV^m Vv
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
| 6 . . . 6 . | 6 . . 4 6 . | 4 . . . 4 . | . . . . . . |
| . . . . . . | 6 . . . . . | . . . . . . | 4 . . . . . |
| . . 4 . . . | . . 7 . . . | . . 2 . . . | . . 2 . . . |
| . . . . . . | 5 . . . . . | . . . . . . | . . . . . . |
| 5 . . . . . | . . . . . . | 3 . . . . . | . . . . . . |
^bIIIv ^bVIIv V^m
| 4 . . . . . | 4 . . 2* . . | . . . . . . | . . . . . . | * see above
| 5 . . . . . | 5 . . 7* 5 . | 2 . . . . . | . . . . . . |
| . . . . 5 . | . . . . . . | 3 . . . 3 . | . . . . 3 . |
| . . 3 . . . | . . 3 . . . | . . . . . . | 3 . . 6 . . |
| . . . . . . | . . . . . . | . . 1 . . . | 4 . . . . . |
| 4 . . . . . | 4 . . . . . | . . . . . . | . . 2 . . . |
| . . . . . . | . . . . . . | 2 . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | 3 . . . . . |
^bVIv Vv,^m7 I^m
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| 5 . . 3 . . | . . . . . . | . . . . . . | . . . . . . |
| 6 . . . 6 . | 4 . . 1 4 . | 6 . . . . . | 6 . . . . . |
| . . . . . . | 1 . . . . . | 4 . . . 4 . | . . . . . . |
| . . 4 . . . | . . 2 . . . | . . 4 . . . | . . . . . . |
| . . . . . . | . . . . . . | 5 . . . . . | 5 . . . . . |
| 5 . . . . . | 3 . . . . . | . . . . . . | . . . . . . |
World Music, Microtonal Music, etc.
My old Kentucky Home (barbershop tag)
Accompianing a barbershop quartet with the Kite guitar is fairly easy, and highly recommended! However playing a tag note for note is often impossible, because tags often use a 3-5-7-8 chord voicing. This tag is an exception, except for the 2nd-to-last chord. Translation by Aaron Wolf.
Vocal rendition, individual vocal tracks, sheet music, and videos: https://www.barbershoptags.com/tag-82-My-Old-Kentucky-Home In this version, the baritone's first "way" has been changed from an ^b3 to a b5, to avoid an 8ve with the tenor, and to provide the chord with a 7th. In 41edo, this Cb is the same note as the baritone's "home" note, just spelled differently.
For my old Ken-tuck-y home, far a-way, far a-way tenor: v6 b6 5 v3 v6 v5 v8 9 9 ^b10 v9 v9 v10 lead: 1 2 v3 1 4 3 6 v7 v7 8 ---------> baritone: 1 5 1 v#1 v#4 v4 v4 b5 4 4 5 (the baritone's "Ken" note is a low note a 4th below the 1) bass: 1 1 4 6 9 5 5 ^b6 b7 b7 8 (the 1 of the bass is an 8ve lower than the 1 of the other voices)
Chords for 6-string guitar in G#:
For IVvno1 . 18 . 20 . . my II5(b5) . . 15 . 12 . old Iv 4 . . 5 5 4 Ken- Iv 4 . 3 5 5 . tuck- IVv . 6 . 5 7 7 y VIv7 . 13 13 12 10 . home IIv7 . . 15 15 14 12 far a- Vv7 16 . . 13 17 16 fingering: 2 . . 1 4 3 way ^bVIv7 18 . . 15 19 18 " far a- bVIIv,9 21 . 20 . 19 . alternate (2,19) with (2,22) way Iv . 18 . 17 19 19
Kusuva Musha (traditional mbira)
Kite's arrangement of a traditional mbira dzavadzimu song. Simple 5-limit harmonies, except for the 10/7 in the vB chord. But tricky circular rhythms with lots of 3-against-4. The harmonies are circular too. The key is simultaneously C downmajor down-2 and F downlydian down-4. (As with chords, the "down" before the mode name lowers the 3rd, 6th and 7th, but not the tonic, 2nd, 4th or 5th.) The guitar part is a 3-voice canon, with the 3 voices separated by diatonic 3rds. The highest voice is on the beat, as is the bass.
https://soundcloud.com/mbirakite/kusuva-musha-canon-guitar-version
Tablature in C (or F) for 6-string guitar:
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
- - - - - - | - - - - - - | - - - - 6 - | - 4 - - 6 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - 3 - - - | - - - - - - | - - 3 - - -
- - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3
- - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
/ Cv vE^m vA^m Cv Fv vA^m vD^m
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| 5 - - 3 - - | 5 - - - - - | 5 - - 5 - - | 5 - - - - -
| - - 3 - 3 - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
| - - - - - - | - 4 - - 4 - | - - - - 6 - | - 4 - - 6 -
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
\
Fv vB5(^b5) vD^m Gvno5 vB5(^b5) Cv \
- - - - - - | - - - - - - | - - - - - - | - - - - - - |
8 - - 5 - - | 3 - 3 - - - | 8 - - 3 - - | 3 - 3 - - - |
- - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3 |
- - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 - |
- - - - - - | - - - - - - | - - - - - - | - - - - - - |
- - - - - - | - - - - - - | - - - - - - | - - - - - - |
/
Tablature in C (or F) for 4-string bass guitar, tuned one octave below strings 3-6 of the guitar:
F vA F
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | 19 - - - - -
- - - - - - | - - - - - - | - - - 19 - - | - - - 19 - -
vA F vB F vA G vB G
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | 16 - - - - - | - - - - - - | 16 - - - - -
19 - - - - - | - - - - - - | 19 - - 16 - - | - - - 16 - -
- - - 19 - - | - - - 19 - - | - - - - - - | - - - - - -
/ C vE vA G C F vA F
| - - - - - - | - - - - - - | - - - - - - | - - - - - -
| 18 - - - - - | - - - - - - | 18 - - - - - | - - - - - -
| - - - - - - | 19 - - 16 - - | - - - - - - | 19 - - - - -
| - - - 17 - - | - - - - - - | - - - 19 - - | - - - 19 - -
\
vA F vB F vA G vB G \
- - - - - - | - - - - - - | - - - - - - | - - - - - - |
- - - - - - | 16 - - - - - | - - - - - - | 16 - - - - - |
19 - - - - - | - - - - - - | 19 - - 16 - - | - - - 16 - - |
- - - 19 - - | - - - 19 - - | - - - - - - | - - - - - - |
/
Tablature in vE (or vA) for 6-string guitar, combining both parts:
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
- - - - - - | - - - - - - | - - - - 6 - | - 4 - - 6 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - 3 - - - | - - - - - - | - - 3 - - -
- - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3
- - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
5 - - 3 - - | 5 - - - - - | 5 - - 5 - - | 5 - - - - -
- - 3 - 3 - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
- - - - - - | - 4 - - 4 - | - - - - 6 - | - 4 - - 6 -
- - - - - - | - - - - - - | - - - - - - | - - - - - -
- - - - - - | - - - - - - | - - - - - - | 5 - - - - -
- - - - - - | - - - - - - | - - - 5 - - | - - - 5 - -
8 - - 5 - - | 3 - 3 - - - | 8 - - 3 - - | 3 - 3 - - -
- - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3
- - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 -
- - - - - - | 2 - - - - - | - - - - - - | 2 - - - - -
5 - - - - - | - - - - - - | 5 - - 2 - - | - - - 2 - -
- - - 5 - - | - - - 5 - - | - - - - - - | - - - - - -
/ Iv vIII^m vVI^m Iv IVv vVI^m vII^m
| 5 - - 3 - - | 5 - - - - - | 5 - - 5 - - | 5 - - - - -
| - - 3 - 3 - | - - 6 - - 3 | - - 6 - - - | - - 6 - - 6
| - - - - - - | - 4 - - 4 - | - - - - 6 - | - 4 - - 6 -
| 4 - - - - - | - - - - - - | 4 - - - - - | - - - - - -
| - - - - - - | 5 - - 2 - - | - - - - - - | 5 - - - - -
| - - - 3 - - | - - - - - - | - - - 5 - - | - - - 5 - -
\
IVv vVII5(^b5) vD^m Vvno1 vVII5(^b5) Iv \
8 - - 5 - - | 3 - 3 - - - | 8 - - 3 - - | 3 - 3 - - - |
- - 6 - - - | - - - - - 6 | - - 3 - 3 - | - - - - - 3 |
- - - - 6 - | - 6 - - 6 - | - - - - - - | - 6 - - 4 - |
- - - - - - | 2 - - - - - | - - - - - - | 2 - - - - - |
5 - - - - - | - - - - - - | 5 - - 2 - - | - - - 2 - - |
- - - 5 - - | - - - 5 - - | - - - - - - | - - - - - - |
/
I Hear Numbers (Tall Kite, microtonal)
Based on the keyboard part, not the electric guitar part.
Full song: http://tallkite.com/music/IHearNumbers.mp3
Keyboard part with a guitar sound: http://tallkite.com/music/IHearNumbersKeyboardOnGuitar.mp3
Liner notes: http://tallkite.com/music/IHearNumbers.html
Chords:
intro: Vv7 vIII^m7(b5) Vv7 vIII^m7(b5)
Vv7 vIII^m7(b5) Vv7 /
solos: Iv7 vbIII^m6 IVv7 /
Iv7 vbIII^m6 IVv7 /
bVIIv7 bVIIv7no1 vbIII^m6 /
vbVI^ vbVI^7 Vv7 /
verse 1: Iv7 vbVII^m6 Iv7 vbVII^m6
Iv7 vbVII^m6 Iv7 vbVII^m6
Iv7 vbVII^m6 Iv7 vbVII^m6
Iv7 vbVII^m6 Iv7 /
chorus: vVI^m7 / vVII^m6(b5) /
/ / vVI^m7 /
/ / vVII^m6(b5) /
vVI^7 vVI^m6(b5) Vv7 /
breakdown: Iv7 vbVII^m6 bVv7 [vbbVII=^#V]^m6
^#IIv7 #IV^m6 ^VIv7 Vv7
verse 2: Iv7 vbVII^m6 Iv7 vbVII^m6
Iv7 vbVII^m6 Iv7 IIv7
bridge: Vv7 Vvm7(b5) IIv7 /
/ IIvm7(b5) Vv7 VIvm7
IIIv7 IIIvm7(b5) VIv7,b9 VIv6
/ VIvm7(b5) IIv7 Vv7
coda: Iv7 / vbVII^m7 /
vbIII^7 / Vv7 /
Guitar tab in ^^C for a 6-string guitar. ^^C is 5th string, 5th fret, written as (5,5). Some chords had to be simplified, 8 strings are really needed for this song.
In the chorus, use the passing chords to get this bass line:
(5,20) (6,18) (5,20) (5,17)
(4,17) (5,13) (4,17) (5,19) etc.
The bridge has this bass line:
(5,17) (6,15) (5,17) (5,13)
(6,15) (4,14) (6,15) (5,15)
(6,15) (4,14) (6,15) (5,13)
(5,17) (6,15) (4,14) (4,14)
(5,12) (6,10) (5,12) (5,8) etc.
intro chords: Vv7 . 17 17 16 14 .
vIII^m7(b5) 18 . 15 16 18 . (2nd time play 18 17 15 16)
walkdown (5,17) (5,13) (6,16) (6,15)
solo chords: Iv7 . 5 . 4 2 6
vbIII^m6 . 5 3 2 2 (4)
IVv7 . . 7 7 6 4
bVIIv7 8 . 7 5 9 .
bVIIv7no1 . 8 7 5 9 .
vbIII^m6no5 . . 3 2 6 4 (fingering: 2 1 4 3)
vbVI^ 4 . 3 5 6 . (fingering: 2 1 3 4)
vbVI^9 . 18 19 17 16 16
Vv7 . 17 17 16 14 .
verse chords: Iv7 3 5 5 . 2 . (fingering: 2 3 4 1)
vbVII^m6 3 1 0 0 . . (fingering: 2 1)
vbVII^m6 3 1 0 0 2 1 (fingering: 4 1 3 2) (advanced version)
chorus chords: vVI^m7 18 20 19 . 18 . (see comments above for the bass line)
(passing chord) . 17 19 . 18 . (fingering: 1 3 2)
vVII^m6(b5) . 13 17 16 20 .
(passing chord) . 19 . 16 20 . (fingering: 3 2 4)
vVI^9 . 20 21 19 18 18
vVI^m6(b5) . 20 19 * . . (* riff between 17 and 23)
Vv7 . 17 17 16 14 .
breakdown: Iv7 . 17 * 19 . . (* riff between 15 and 19)
vbVII^m6 . 17 15 14 14 .
bVv7 . 15 15 14 12 .
^#V^m6 . 15 13 12 12 .
^#IIv7 . 11 11 10 8 .
#IV^m6 . 11 9 8 8 .
^VIv7 7 . 6 4 8 .
Vv7 3 . 2 0 4 .
bridge chords: Vv7 15 17 17 (16) 14 . (see comments above for the bass line)
Vvm7(b5) . 13 15 14 14 . (lacks the root unfortunately)
IIv7 15 . 14 12 16 . (use this for the pickup chord as well)
IIvm7(b5) . 13 12 12 14 . (lacks the root unfortunately)
VIvm7 . . 14 12 13 11
IIIv7 10 12 12 (11) 9 .
IIIvm7(b5) . 8 10 9 9 . (lacks the root unfortunately)
VIv7,b9 . . 14 14 13 11 (lacks the 9th unfortunately)
VIv6 . . 14 14 16 15 (lacks the 5th unfortunately)
VIvm7(b5) . . 14 12 11 11
Vv7 . 17 17 16 14 .
coda chords: Iv7 . 5 . 4 2 6
vbVII^m7 . 1 0 0 2 1 (lacks the 7th unfortunately, I ran out of frets)
vbIII^7 . . 3 4 2 1
Vv7 3 . 2 0 4 (3)
Mizarian Porcupine Overture (Herman Miller, microtonal)
Just as songs with meantone comma pumps can be played on the Kite guitar, so can songs with other comma pumps. The same strategies apply. The last 30 seconds of this piece is a famous example of a Porcupine aka Triyo comma pump. The comma is rapidly pumped three times.
http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding.mp3 (1999 version)
http://tallkite.com/misc_files/MizarianPorcupineOvertureEnding2.mp3 (later version)
| Iv / vIII^m | vVIv / ^Iv | | | | | ^IVv ^IVv/3 VIv | IIv V^m Vv |
The score below is written out for the (P8,P4/3) pergen, with an enharmonic of v3A1, and vvE equal to ^Eb. But in 41edo, vvE equals ^^Eb. In this translation, the 4th chord is ^Ebv, causing a half-fret downward pitch shift.
Tab in Eb downmajor for three 6-string guitars. The chords are the bass clef of the score note-for-note. The lead melodies are the treble clefs. They are in absolute tab as string, dot, fret. The tonic is (4,5,3) = 4th string, 5 dots plus 3 frets = 23rd fret.
--------Rhythm Guitar----- -----1st Lead Guitar--------------- ------2nd Lead Guitar--------------
Iv . 9 9 8 10 . (3,5,3)(3,5,0)(4,5,3)(3,5,3)(3,6,1) (2,5,2)(3,5,3)(3,6,1)(2,5,2)(2,6,1)
v3 2 1 v3 4 5 v3 4 5 v6
vIII^m . 7 9 8 8 . (3,5,3) (2,5,2) (2,5,0) (2,5,2)
v3 5 v#4 5
vVIv 10 10 9 11 . . (4,6,0) (4,5,1) (4,6,0) (5,6,0) (2,6,1) (3,5,3) (2,6,3) (3,5,3)
vv#1 v7 vv#1 v6 v6 v3 ^2 v3
^Iv . 1 3 3 2 . (2,4,1)
3
^IVv 4 . 3 5 5 . (1,4,3) (1,4,0) (2,4,3) (3,4,1) (4,4,2)
6 ^5 ^4 ^1 6
^IVv/3 . 4 3 5 5 . (3,4,1) (3,4,2) (4,3,3) (5,4,2) (4,3,3)
^1 v#1 ^5 ^4 ^5
VIv . 4 4 3 5 . (4,5,0) (5,4,0)
^m7 3
IIv . 4 6 6 . . (4,4,2) (5,4,3) (6,4,3)
6 v#4 2
V^m . 6 6 8 . . (2,5,1) (4,5,0) (5,5,3)
^4 ^m7 ^m6
Vv . 7 6 8 . . (2,5,2) (5,5,1) (4,5,1)
5 5 v7
Iv . 9 9 8 10 . (3,5,3) (4,5,3)
v3 1