Talk:Kite Guitar Exercises and Techniques by Kite Giedraitis

This idea of "Rotations" that you are beginning to talk about, and thus this "Negative Harmony" concept by Jacob Collier, sounds like my concept of "Treble-Down Tonality". If Jacob Collier only came up with this in the last five years, that means I've already beaten both of you to the punch as I was working with this concept as early as 2013. I've even gone so far as to label each of the Treble-Down diatonic modes, and I've noticed that these are none other than the original Ancient Greek modes. --Aura (talk) 05:27, 24 December 2020 (UTC)

Trust me, if you and Jacob think you have this realm of Treble-Down Tonality figured out, think again. Now that I'm learning microtonality, I have a lot more tricks up my sleeve than I did in 2013, and I'm more than willing to show them off. --Aura (talk) 05:48, 24 December 2020 (UTC)

The basic idea goes way back. Didn't Harry Partch talk about how a minor triad was an upside down major triad, with the old root becoming the new 5th? IIRC he actually went further and said the 5th *was* the root. My contribution is to show how the fretboard shapes on the Kite Guitar rotate 180 degrees. As they would on any isomorphic fretboard or keyboard. The lattice shapes also rotate, but someone else must have noticed that before. I do like your term Treble-Down Tonality. Please do share any tricks you have! --TallKite (talk) 08:04, 24 December 2020 (UTC)

Yep, it sure does go way back- back to Hugo Riemann in fact, and then all the way back to the Ancient Greeks. --Aura (talk) 08:10, 24 December 2020 (UTC)

It's an extension to tonal harmony, not modal. I suppose you can't attribute everything to ancient Greeks. FloraC (talk) 08:33, 24 December 2020 (UTC)

On the contrary, tonal harmony developed from modal harmony, so the idea of Treble-Down Tonality is in some ways just a similar innovation stemming from the more authentic forms of the Ancient Greek modes as opposed to their Romanized equivalents. --Aura (talk) 08:38, 24 December 2020 (UTC)

Did I mention that my ideas as to how the Diatonic "modes" function as tonalities of their own were based in no small part from their more traditional modal harmonies? Indeed, I consider each of the traditional Diatonic "modes" as having the potential to give rise to their own form of tonality. --Aura (talk) 08:47, 24 December 2020 (UTC)

Treble-Down Tonality actually flips the diatonic functional hierarchy upside down so that the note located a perfect fourth below the Tonic becomes the Dominant, and swaps the relations among other notes in the same, mirrored fashion, which has the effect of producing backwards-sounding chord progressions. Moreover, as Bass-Up Tonality has strong connections to the Overtone Series, Treble-Down Tonality has the same connections with the Undertone Series. Furthermore, it also inverts the musical roles of the treble and bass, meaning that harmony is very likely to located up in the higher octaves and basically hangs off the highest note in the chord, while melody is likely to be down in the lower octaves. One thing to note is that neither Treble-Down Tonality nor the more familiar Bass-Up Tonality like dissonance in close proximity to their respective chord roots. However, since the chord roots are located up high in Treble-Down Tonality, that means that the more dissonant intervals are likely to be found down low. I'll have to try and incorporate some of this into a song I'm reworking called "Welcome to Dystopia". --Aura (talk) 08:20, 24 December 2020 (UTC)

Now, everyone knows about Major and Minor from Bass-Up Tonality, but in Treble-Down Tonality, their counterparts are Antimajor and Antiminor respectively. Just wait until we get into the Treble-Down Diatonic Modes- if there are 35 Bass-Up Diatonic Modes due to different tunings, there are also 35 Treble-Down Diatonic modes for exactly the same reason, making 70 diatonic modes in all, and that's just the variants generated by my kind of tuning. --Aura (talk) 08:32, 24 December 2020 (UTC)