Kite Guitar Originals by Kite Giedraitis

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Kite Giedraitis's originals for the Kite Guitar. All tabs are for a guitar tuned in downmajor 3rds. Some of these are more riffs than songs.


Underground Revolution

Key: ^Bb downminor pentatonic

verse:
Iv7           /        IVv7        vbIII^9 
Iv7           /        IVv7        Vv7
Iv7         vbVII^m6    /          Iv7
vbIII^m6    Vv7        Iv7                (short bar of 3 beats)
IVv7          /         /           /
  /           /         /           /

chorus:
Iv7           /         /           /
vbIII^m6      /         /           /
IVv7          /         /           /
vbVI^m6       /        Vv7          /

instrumental:
Iv7          N.C        /           /
vIII^m6       /         /           /
#IVvm7(b5)    /         /           /
IVv7          /         /           /
Iv7           /         /           /
  /           /         /           /

The verse with rhythm, lead melody and high harmony (a comma in the rhythm means a skipped beat)

             Iv7          IVv7   vbIII^9 Iv7          IVv7         Vv7
It's the new Do Re Mi  A fresh melody    Harmony will be turned around
 4    e   &  1  &  2   &  a,   e a 4     1  & 2  &    a,   e    a  4
 8    8  vb7 5 vb7 8   8  8    5 5 vb7  vb7 8 5  vb7  8    8   vb7 5
                                        v3 v3 v3 v3  vb3  vb3  vb3 2


 Iv7          vbVII^m6          Iv7  vbIII^m6 Vv7     Iv7          IVv7
There's a new sound    in this town   Down a-round the underground scene    Yeah
 1      e  &    2      3    &   4      1   &   2    &   a, e   &     1, , , 1, , ,
 5      5  8   vb7    vb7   5   8      8  vb7  5    5   5  5  v3     4      vb10
                                      b5  b5  v4   v4  v3 v3  v3    vb3

The chorus with rhythm, high harmony, lead melody and low harmony

 Iv7                       vbIII^m6       IVv7                          vbVI^m6   Vv7
Welcome to the underground Re-vo-lu-tion New ways of thought giving us  New  so-lutions
 1  &,  &   3   a, e   &,   &, &  3   &,  1    &,  &    3     a, e  &,   &,   &   3  &, 
 5  v3  5  v3   2  2  v3   b5 vb3 1  vb3  4   vb3  4   vb3    1  1 vb3   4   vb3 v7  2
vb10 8 vb10 8 vb7 vb7  8  vb10 8 vb7  8  vb10  8 vb10   8    v6 v6  8   vb10  v7  5 v7
vb7  5 vb7  5 v3  v3   5  vb7 b5 vb3  b5  v6   4  v6    4   vb3 vb3 4   vb6   4   2 v4


I Hear Numbers

Based on the keyboard part, not the electric guitar part. I wrote this in 7-limit JI, but it works well in 41edo. The breakdown pumps the Bizozogu microcomma, which 41edo tempers out.

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. Uses KDF fret numbering. 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 ⸰⸰0) (6 ⸰2) (5 ⸰⸰0) (5 ⸰1)
(4 ⸰1) (5 ₒₒₒ1) (4 ⸰1) (5 ⸰3) etc.

The bridge has this bass line:
(5 ⸰1) (6 ₒₒₒ3) (5 ⸰1) (5 ₒₒₒ1)
(6 ₒₒₒ3) (4 ₒₒₒ2) (6 ₒₒₒ3) (5 ₒₒₒ3)
(6 ₒₒₒ3) (4 ₒₒₒ2) (6 ₒₒₒ3) (5 ₒₒₒ1)
(5,4,1) (6 ₒₒₒ3) (4 ₒₒₒ2) (4 ₒₒₒ2)
(5 ₒₒₒ0) (6 ₒₒ2) (5 ₒₒₒ0) (5 ₒₒ0) 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)


Sweet Sweet Harmony (barbershop tag)

This is a collaboration with Aaron Wolf. He wrote a short piece for beginners that has lots of chromatic voice movement. Here's the most basic 3-voice version:

guitar tab chords chord homonyms
- - 4 4 3 - Iv close
- - 4 2 6 - vVI^d lo35 lo IVv7noR hi3
- - 4 3 5 - ^bVIv lo35
- - 7 6 4 - vII^d close lo bVIIv7noR close
- - 4 4 3 - Iv close

The high voice neatly divides a vM2 into three equal steps. The middle voice divides an A1 into two equal steps.

The exercise commonly also included a high tonic drone (which adds a 9th to the penultimate chord). The drone can be on the 1st string 5th fret or come from another instrument or from singing.

Together, we turned it into a proper barbershop tag with lyrics and 4 parts:

lyrics note

duration

vocal parts 6-string guitar tab in vDb 6-string guitar tab in Eb chords
bass bari lead tenor KDF frets frets KDF frets frets
Gim- eighth ---- ---- P5 ---- - - ₒₒ3 - - - - - 11 - - - - - ₒₒₒ3 - - - - - 15 - - - ---- ----
-me eighth ---- ---- M6 ---- - - - ₒₒ0 - - - - - 8 - - - - - ₒₒₒ0 - - - - - 12 - - ---- ----
That eighth ---- ---- vM7 ---- - - - ₒₒ3 - - - - - 11 - - - - - ₒₒₒ3 - - - - - 15 - - ---- ----
Sweet half P5 vm7 P8 vM10 - - ₒₒ3 ₒₒ1 ₒₒₒ1 0 - - 11 9 13 0 - - ₒₒₒ3 ⸰1 ⸰1 0 - - 15 17 17 0 Iv7 hiR3
Sweet half P4 vM6 vm10 - ₒₒₒ2 ₒₒₒ2 ₒₒₒ1 ₒₒ3 - - 14 14 13 11 - - ⸰2 ⸰2 ⸰1 ₒₒₒ3 - - 18 18 17 15 - IVv7 close
Har- half ^m3 ^m6 b12 - ₒₒ3 ₒₒₒ1 ₒₒₒ1 - ₒₒ2 - 11 13 13 - 10 - ₒₒₒ3 ⸰1 ⸰1 - ₒₒₒ2 - 15 17 17 - 14 ^bVIv7 lo5
-mo- half vM2 vm6 P11 ₒₒₒ3 - ₒₒₒ0 ₒₒₒ1 ₒₒₒ3 - 15 - 12 13 15 - ⸰3 - ⸰0 ⸰1 ⸰3 - 19 - 16 17 19 - vII^d^7 hi3
-ny whole P1 P5 vM10 ₒₒₒ0 - ₒₒ3 ₒₒₒ1 ₒₒₒ1 - 12 - 11 13 13 - ⸰0 - ₒₒₒ3 ⸰1 ⸰1 - 16 - 15 17 17 - Iv add8hi3

The lead posts on "sweet" which turns into "-ny", so the lead ends up singing "swee". The bass uses the 41edo equi-dorian scale (P1 vM2 ^m3 P4 P5 vM6 ^m7 P8) which is reminiscent of Triyo/Porcupine[7]. An optional 5th vocal part is a sub-bass which goes P8 P4 ^m6 m7 P8, with P8 being the same note as the bass's P1. This turns the vII^d^7 hi3 chord into a bVIIv9 hi5 chord.

The guitar tab uses an open string in the 1st chord to get the hiR3 voicing. In the vDb tab, that open string can optionally be added to all the other chords too.

Alternate lyrics: "Love My Kite Guitar, Love My Kite Guitar". The lead's melody is 5 5 6 v7 8 with a rhythm of 3 & 4 & 1. The other parts come in after the 1, with the same half-half-half-half-whole rhythm of 2 & 3 & 4.

The lead could improvise their pickup notes, e.g. "How I long for that sweet" with v7 8 9 8 v7 8 melody, 2 & 3 & 4 1 rhythm, or "Love love love my Kite guitar" with 5 v7 9 v7 v11 v7 8 melody, 1 & 2 & 3 4 1 rhythm.

Downminor Etude

Video: https://youtu.be/hZ55MohHUb4

Video (backing part only): TallKite.com/KiteGuitar/Downminor Etude.m4v

Audio (backing part only): TallKite.com/KiteGuitar/Downminor Etude.mp3

Key: A downminor

    vbVI^             Ivm               vbVI^             Ivm 
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
  | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - |   (3x)
  | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - |
5 | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - 5 |
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
  | - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - |

    IVvm              bVIIv             IVv7
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
  | - - 9 - - - 9 - | - - 9 - - - 9 - | - - 5 - - - 5 - | - - 5 - - - 5 - |
  | - 7 - 7 - 7 - 7 | - 10- 10- 10- 10| - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - |
  | 6 - - - 6 - - - |10 - - - 10- - - | 8 - - - - - - - | 8 - - - - - - 5 |
  | - - - - - - - - | - - - - - - - - | - - - - 8 - - - | - - - - 8 - - - |
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

    IVvm              bVIIv             Iv                Ivdim
  | - - - - - - - - | - - - - - - - - | - - 6 - - - 6 - | - - 4 - - - 4 - |
  | - - 9 - - - 9 - | - - 9 - - - 9 - | - 7 - 7 - 7 - 7 | - 5 - 5 - 5 - 5 |
  | - 7 - 7 - 7 - 7 | - 10- 10- 10- 10| 7 - - - 7 - - - | 7 - - - 7 - - - |
  | 6 - - - 6 - - - |10 - - - 10- - - | - - - - - - - - | - - - - - - - - |
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

    vbVII^            vbVII^m           Vvdim             vbIII^9
  | - - 2 - - - 2 - | - - 2 - - - 2 - | - - - - - - - - | - - - - 2 - - - |
  | - 4 - 4 - 4 - 4 | - 2 - 2 - 2 - - | - - 2 - - - 2 - | - - - 2 - 2 - - |
  | 3 - - - 3 - - - | 3 - - - 3 - - 3 | - 3 - 3 - 3 - - | - - 3 - - - 3 - |
  | - - - - - - - - | - - - - - - - - | 5 - - - 5 - - 5 | - 5 - - - - - 5 |
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | 4 - - - - - - - |
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

    vbVI^             Ivm               vbVI^             Ivm 
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
  | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - - - |   (2x)
  | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - - - - |
  | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - - |
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
  | - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - |

Chords and melody ("/" means bend up to the note):

 vF^                Avm              vF^               Avm
| . . . . . . . . | . . . . . . . . | . . . . . . . . | . . . . . . . . |

 vF^                   Avm                vF^                  Avm
| . . vC D Eb D vC - | /vC - - A - - - - | . . vC D Eb D vC - | A - - E - . E - |

  vF^                 Avm                vF^                  Avm
| /vF - - - - . vF - | E - - - - vF E - | Eb - - - Eb - Eb - | D - - - - . . . |

  Dvm                Gv                  Dv7
| /vF - D - - - - . | /vF - D - - . vF - | E - - E E vC - A | - - - . . A vC E |

  Dvm                Gv                  Av                Avd
| /vF - D - - - - . | /vF - D - - . vF - | E - A'- - . E - | vG - A' - - - - . |

  vG^                  vG^m                Evd                   vC^9
| . . vG B'vA'vG F - | E - Bb'- . . E vD | vC# - vG - - . /Bb'vG | - - - . /Bb'vG - Bb'|

  vF^                 Avm                   vF^                 Avm
| A'- vF vC - - - . | vG A' - vG A'- vG - | /A'- vF vC - - A'- | vG - E vC - - - . |

  vF^                  Avm                vF^                  Avm
| . . vC D Eb D vC - | /vC - - A - - . . | . . vC D Eb D vC - | A - - - E - - - |

Blues in G

Loosely based on Lance Vallis' solo guitar piece in G

http://lancevallis.tripod.com/webonmediacontents/Solo%20Blues%20in%20G%20II.pdf

https://www.youtube.com/watch?v=Q7a4yHGSiAI

But I Africanized it by syncopating the bass, and by changing chords early, before the bar line. And I changed the melodies, because IMO simply transposing everything up a 4th on the IV chord is too predictable. Warning: the repeat signs do NOT line up with the bar lines! The feel should be swingy, to make the syncopation obvious.

   &  a  4  e  &  a   1  e  &  a  2  e  &  a   3  e 
         5                   vb7       v6      b5  5
   5 vb7 1 vb7 5  1            5     1  4  1  vb3 v3
//                            v3                     \\
|| -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  ||
|| -  -  -  -  -  - | -  -  - 11* -  -  -  - | -  -  ||   4x
|| -  - 13  -  -  - | -  -  - 13* -  - 16  - |11 13* ||
|| -  -  -  -  -  - | -  -  - 14* -  - 16  - |12 14* || 
|| - 10 14 10  -  - | -  -  -  -  - 14  - 14 | -  -  ||
||12  -  -  - 12  0 | -  -  -  -  -  -  -  - | -  -  ||
\\                              * slide up           //
  
                               8       vb7    vb6 v6
   5 v6 vb3 1 vb6 4           v6     1  5  1  ~2 vb3
//                            vb3                    \\
|| -  -  -  -  -  - | -  -  -  -  -  -  -  - | -  -  || 
|| -  -  -  -  -  - | -  -  - 15* -  - 11  - | -  -  ||   2x
|| -  -  -  -  -  - | -  -  - 16* -  - 13  - |14 16* || 
|| -  - 12  -  0  - | -  -  - 12* -  -  -  - |10 12* ||   (last 12 could be 16)
|| -  -  - 14  -  2 | -  -  -  -  - 14  - 14 | -  -  || 
||12 15  -  -  -  - | -  -  -  -  -  -  -  - | -  -  ||
\\                                                   //

back to the 1st riff 2x
  
                               9        8     vb7 v7
  b2  2 v4  2 vb7 5           v7     1 v6  1   b5  5
//                            v4                     \\
|| -  -  -  -  -  - | -  -  - 12* -  -  -  - | -  -  || 
|| -  -  -  -  -  - | -  -  - 13* -  - 15  - | -  -  ||   1x
|| -  -  9  -  -  - | -  -  -  9* -  - 16  - |11 13* || 
|| 9 11  - 11  -  - | -  -  -  -  -  -  -  - |11 13* || 
|| -  -  -  - 10  - | -  -  -  -  - 14  - 14 | -  -  || 
|| -  -  -  -  - 12 | -  -  -  -  -  -  -  - | -  -  ||
\\                                                   //

2nd riff 1x

1st riff 2x


The Relative Song

So-called because it switches between relative major and minor. No roman numerals, because this song could be in either ^Bb downmajor or ^C upminor. The root movements are almost entirely by 4ths and 5ths. The descending m2 move leaps over to the fifthward side of the lattice, setting up the gradual fourthward progression.

Each column is a 16th note. It has nice long pauses after the chromatic bass runs, plenty of time to get your fingers in place for the strumming. Just for fun, you can start on the ^G chord or even the ^D chord.

        // ^C^m7                               ^F^7                      1,2-----\\  3-------\\   
(3x)    || - - - - 5 - 5 5 | - 5 5 - - - - - | - - - - 5 - 5 5 | - 5 5 - - - - - ||  - - - - ||
        || - - - - 3 - 3 3 | - 3 3 - - - - - | - - - - 6 - 6 6 | - 6 6 - - - - - ||  - - - - ||
        || - - - - 4 - 4 4 | - 4 4 - - - - - | - - - - 8 - 8 8 | - 8 8 - - - - - ||  - - - - ||
        || - - - - - - - - | - - - - 5 - 6 - | 7 - - - 7 - 7 7 | - 7 7 - - - - - ||  7 - - - ||
3 - 4 - || 5 - - - 5 - 5 5 | - 5 5 - - - - - | - - - - - - - - | - - - - 3 - 4 - ||  - - 8 - ||
        || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - ||  - - - - ||
        \\                                                                       //          //

        // ^Bbv7                               ^Ebv7                     1,2-----\\  3-------\\       
(3x)    || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - ||  - - - - ||
        || - - - - 9 - 9 9 | - 9 9 - - - - - | - - - - 7 - 7 7 | - 7 7 - - - - - ||  - - - - ||
        || - - - - 5 - 5 5 | - 5 5 - - - - - | - - - - 9 - 9 9 | - 9 9 - - - - - ||  - - - - ||
        || - - - - 7 - 7 7 | - 7 7 - - - - - | - - - -10 -10 10| -10 10- - - - - ||  - - - - ||
        || - - - - - - - - | - - - - - - 9 - |10 - - -10 -10 10| -10 10- - - - - ||  10- - - ||
        || 8 - - - 8 - 8 8 | - 8 8 - 8 - - - | - - - - - - - - | - - - - 10- 9 - ||  - - - - ||
        \\                                                                       //          //

          ^D^7                                ^Gv7
(once)   | - - - - 0 - 0 0 | - 0 0 - 0 - 0 - | - - 3 - 3 - 3 3 | - - - - - - - - |
         | - - - - 1 - 1 1 | - 1 1 - 1 - 1 - | - - 4 - 4 - 4 4 | - - - - - - - - |
         | - - - - 3 - 3 3 | - 3 3 - 3 - 3 - | - - 0 - 0 - 0 0 | - - - - - - - - |
         | 2 - - - 2 - 2 2 | - 2 2 - 2 - 2 - | - - 2 - 2 - 2 2 | - - - - - - - - |
         | - - - - 0 - 0 0 | - 0 0 - 0 - 0 - | - - - - - - - - | - - - - 3 - 4 - |
         | - - - - - - - - | - - - - - - - - | 3 - 3 - 3 - 3 3 | - - - - - - - - |

Chords:

^C^m7   ^F^7    (3x)  

^Bbv7   ^Ebv7   (3x)

^D^7    ^Gv7


The Tri-sub song

In 12edo, a tritone substitution changes V7-IM7 to bII7-IM7. In 41edo, the bII can be translated to either ^bII or vbII. This song uses both. I used a ^dim,v7 chord instead of the more standard ^dim7 chord because I liked how it led into the following chord. The final ^9 chord uses a very dissonant high-3 voicing which makes an extreme contrast with the very pleasant vM7 chord that it resolves to.

   IvM7                                vVI^m9
 | - - 2 - 2 2 - - | - 2 - 2 - 2 2 - | - - 2 - 2 2 - - | - 2 - 2 - 2 2 - |  (2x)
 | - - 2 - 0 2 - - | - 0 - 2 - 0 2 - | - - 2 - 0 2 - - | - 0 - 2 - 0 2 - |
 | - - 0 - 0 0 - - | - 0 - 0 - 0 0 - | - - 0 - 0 0 - - | - 0 - 0 - 0 0 - |
 | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
 | 1 - - - - - - 1 | - - - - - - - - | - - - - - - - - | - - - - - - - - |
 | - - - - - - - - | - - - - - - - - | 2 - - - - - - 2 | - - - - - - - - |
  
   vII^m9                              IVv7          IV^dim,v7 
 | - - 4 - 2 4 - - | - 2 - 4 - 2 4 - | - - 0 - 0 0 - - | - 0 - 0 - - 0 - |
 | - - 2 - 2 2 - - | - 2 - 2 - 2 2 - | - - 2 - 2 2 - - | - 0 - 0 - - 0 - |
 | - - 3 - 3 3 - - | - 3 - 3 - 3 3 - | - - 3 - 3 3 - - | - 2 - 2 - - 2 - |
 | - - - - - - - - | - - - - - - - - | 3 - - - - - - 3 | - - - - - 3 - - |
 | 4 - - - - - - 4 | - - - - - - - - | - - - - - - - - | - - - - - - - - |
 | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |

   ^bIIv7        vbII^9
 | - - 4 - 4 4 - - | - 0 - 4 - 0 4 - |
 | - - 0 - 0 0 - - | - 0 - 0 - 0 0 - |
 | - - 2 - 2 2 - - | - 1 - 1 - 1 1 - |
 | - - - - - - - - | - - - - - - - - |
 | 3 - - - - - - 2 | - - - - - - - - |
 | - - - - - - - - | - - - - - - - - |


The Walking Song

This song pumps the Zo comma, which maps to an entire fret. Start in Ab (6th string of 6, 1st dot) and slowly march up the fretboard. When you reach the 4th dot, you can continue by jumping down to the 4th string, 3rd fret.

  Iv7     IVv7    vbIII^m7    ^^Vv7

^^Iv7    ~IVv7    ^bIII^m7     #Vv7

 #Iv7    #IVv7     vIII^m7   ^^#Vv7

  etc.

Use this bass line to connect the chord roots. Each phrase has 2 pickup notes. Play the full chords during the "...".

5 v3 1 ...  1 vb3 4 ...  4 v3 vb3 ...  vb3 b5 ^^5 ... ^^5 ^3 ^^1 ...

Some people simply don't hear the rapid upwards tonic drift until it's pointed out to them. Even after becoming aware of it, it still feels incredibly jarring to go from the ^^V chord to a I chord. The ear insists on hearing the ^^V chord as a V chord and not a vbVI chord, and it insists on the ^^I chord coming next.


II-V-I riff in A downmajor

Play with a Bossa Nova feel. When translating IIm7 - V7 - IM7, I don't like to use a Vv7 chord, because it sounds to me more resolved than the IvM7. The I chord doesn't feel like the final chord, and the progression feels incomplete. I much prefer V^7 when resolving to IvM7.

   II^m7         V^7                   IvM7          Iv,^7       Iv7
 | - - 3 - - 3 - - | - 3 - - 3 - 3 - | - - 6 - 6 6 - 6 | - 6 - - 6 - 6 - |
 | - - 1 - - 1 - - | - 4 - - 4 - 4 - | - - 7 - 7 7 - 7 | - 7 - - 7 - 7 - |
 | - - 2 - - 2 - - | - 6 - - 6 - 6 - | - - 5 - 5 5 - 4 | - 4 - - 3 - 3 - |
 | - - - - - - - 5 | - - - 5 - - - - | - - - - - - - - | - - - - - - - - |
 | 3 - - - 3 - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
 | - - - - - - - - | - - - - - - - - | 6 - - - - - - - | - - - 6 - - - - |

Latrizo Pump riff

The Latrizo comma divides the 5th into three up-2nds. This riff walks up to the 5th and leaps back down. This song can't be translated to 12edo, as this video shows:

https://www.youtube.com/watch?v=x9K9HTHcRl8

Iv7   ^IIv7    vIVv7    Vv7

Use this bass line to connect the chord roots. Play the full chords during the "...".

1 ...  1 ^b2 ^2 ...  ^2 ~3 v4 ...  v4 b5 5 ... 5 --> 1 (slide down)


6-chord riff

One of the first songs I wrote on the Kite guitar.

   Iv7               #Ivm7(b5)         vVI^m7
 | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
 | 1 - - 1 - - - - | 3 - - 3 - - - - | 5 - - 5 - - - - | 5 - - 5 - - - - |
 | - - 3 - - 3 - - | - - 3 - - 3 - - | - - 3 - - 3 - - | - - 3 - - 3 - - |
 | - 4 - - - - 4 - | - 4 - - - - 4 - | - 4 - - - - 4 - | - 4 - - - - 4 - |
 | 4 - - 4 - - - - | 6 - - 6 - - - - | - - - - - - - - | - - - - - - - - |
 | - - - - - - - - | - - - - - - - - | 5 - - 5 - - - - | 5 - - 5 - - - - |

   vII^7             vII^9             IVv7              V^9
 | - - - - - - - - | - - - - 5 - - - | 3 - - 3 - - - - | - - - - - - - - |
 | 5 - - 5 - - - - | 5 - - 5 - - - - | - - 5 - - 5 - - | 0 - - - 0 - - - |
 | - - 6 - - 6 - - | - - 6 - - - - - | - 6 - - - - 6 - | - - - 0 - - - - |
 | - 8 - - - - 8 - | - 8 - - - - - - | 6 - - 6 - - - - | - - 1 - - - - - |
 | 7 - - 7 - - - - | 7 - - - - - - - | - - - - - - - - | - 3 - - - - - - |
 | - - - - - - - - | - - - - - - - - | - - - - - - - - | 2 - - - - - - - |


V9 - I7 riff

A nice demo of the two kinds of dom7 chords.

   V^9                                 Iv7
 | - - - - - - - 0 | - - - - - - - - | - - - - - - 1 5 | - 1 - - - - - - |
 | - - - - - - 0 - | - 0 - - - - - - | - - - - 3 - - - | - - - 3 - - - - |
 | - - - - 1 - - - | - - - 1 - - - - | - - 4 - - - - - | - - - - 4 - - - |
 | - - 3 - - - - - | - - - - 3 - - - | 4 - - - - - - - | - - - - - - 4 - |
 | 2 - - - - - - - | - - - - - - 2 - | - - - - - - - - | - - - - - - - - |
 | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |


Im7 - V7 riff

The Vv7 chord is fingered either xx4321 or x2x431. In other words, when the middle finger is playing the low bass note, the ring finger has to "cover" for it.

       I^m7                                Vv7
   5 | - - 5 - - - 5 - | - 5 - 5 - - - 1 | - - 1 - - - 1 - | - 1 - 1 - - - 1 |
   5 | - - 5 - - - 5 - | - 5 - 5 - - - 3 | - - 3 - - - 3 - | - 3 - 3 - - - 3 |
   3 | - - 3 - - - 3 - | - 3 - 3 - - - 4 | - - 4 - - - 4 - | - 4 - 4 - - - 4 |
 4   | - - - - - 4 - - | - - - - - - 4 - | - - - 0 - 4 - - | - - - - 0 - 4 - |
     | - - - 4 - - - - | - - - - 4 - - - | 2 - - - - - - - | 2 - - - - - - - |
     | 5 - - - - - - - | 5 - - - - - - - | - - - - - - - - | - - - - - - - - |

       Vv7                                 I^m7
     | - - 1 - - - 1 - | - 1 - 1 - - - 5 | - - 5 - - - 5 - | - 5 - 5 - - - 5 |
     | - - 3 - - - 3 - | - 3 - 3 - - - 5 | - - 5 - - - 5 - | - 5 - 5 - - - 5 |
     | - - 4 - - - 4 - | - 4 - 4 - - - 3 | - - 3 - - - 3 - | - 3 - 3 - - - 3 |
     | - - - 0 - 4 - - | - - - - 0 - 4 - | - - - - - 4 - - | - - - - - - 4 - |
     | 2 - - - - - - - | 2 - - - - - - - | - - - 4 - - - - | - - - - 4 - - - |
     | - - - - - - - - | - - - - - - - - | 5 - - - - - - - | 5 - - - - - - - |


Fun riff

Another one I wrote early on.

      // Dv7                                                   1---------------\\  2---------------\\
      || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - ||  - - - - - - - - ||
(2x)  || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - ||  - - - - - - - - ||
      || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - ||  - - - - - - - - ||
      || - - 8 - - - - - | - 6 - 8 6 - - - | - - 8 - - - - 8 | - - 6 - 5 - 4 - ||  - - - - - - - - ||
      || 8 - - - - - 4 8 | - - - - - - 4 - | 8 - - - - - 4 - | - - - - - - - - ||  - - 7 - 6 - 5 - ||
      || - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - | - - - - - - - - ||  - - - - - - - - ||
      \\                                                                       //                  //

      // vC^m6                                                 1---------------\\  2---------------\\
      || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - ||  - - - - - - - - ||
(2x)  || - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - ||  - - - - - - - - ||
      || - - - - - - - 3 | - - - - - - - - | - - - - - - - 3 | - - - - - - - - ||  - - - - - - - - ||
      || - - 3 - - - 6 - | - 6 - 3 - - - - | - - 3 - - - 6 - | - - - - - - - - ||  - - - - - - - - ||
      || 4 - - - - - - - | - - - - 4 - - - | 4 - - - - - - - | - - 1 - 2 - 3 - ||  - - - - 6 - - - ||
      || - - - - 6 - - - | - - - - - - 6 - | - - - - 6 - - - | - - - - - - - - ||  - - - - - - - - ||
      \\                                                                       //                  //


Mid-9th riff

Is it Iv - Vvm(~5), or just one big v7,~9 chord? Who cares, it's the blues -- play it slow and bendy.

 | - - - 9 - - | 5 - 5 - - - | - - - 9 - - | 5 - - - - - |
 | - - - 9 - - | 5 - 5 - - - | - - - 9 - - | 5 - - - - - |
 | - - 7 - - 7 | - - - - - - | - - 7 - - 7 | - - - - - - |
 | - - - - - - | - - - - - - | - - - - - - | - - - 6 7 8 | (slide up)
 | 8 - - - - - | - - - - - - | 8 - - - - - | - - - - - - |
 | - - - - - - | - - - - - - | - - - - - - | - - - - - - |

 | - - - 9 - - | 5 - 5 - - - | - - - 9 - - | 5 - 5 - - - |
 | - - - 9 - - | 5 - 5 - - - | - - - 9 - - | 5 - - 5 - - |
 | - - 7 - - 7 | - - - - - - | - - 7 - - 7 | - - - - 7 - |
 | - - - - - - | - - - - - - | - - - - - - | - - - - - 8 |
 | 8 - - - - - | - - - - - - | 8 - - - - - | - - - - - - |
 | - - - - - - | - - - - - - | - - - - - - | - - - - - - |

 | - - - 9 - - | 5 - 5 - - - | - - - 9 - 5 | - - - - - - |
 | - - - 9 - - | 5 - 5 - - - | - - - 9 - 5 | - - - - - - |
 | - - 7 - - 7 | - - - - - - | - - 7 - - - | - - - - - - |
 | - - - - - - | - - - - - - | - - - - - - | - - - 4 8 - | (slide up)
 | 8 - - - - - | - - - - - - | 8 - - - - - | - - - 4 8 - |
 | - - - - - - | - - - - - - | - - - - - - | - - - - - - |

 | - - - 9 - - | 5 - 5 - - - | - - - - - - | - - - - - - |
 | - - - 9 - - | 5 - 5 - - - | - - - - - - | - - - - - - |
 | - - 7 - - 7 | - - - - - - | 5 - 5 - - 7 | - - - - - - |
 | - - - - - - | - - - - - - | 6 - 6 - - 8 | - - - - - - | 
 | 8 - - - - - | - - - - - - | - - - - - - | - - - - - - |
 | - - - - - - | - - - - - - | - - - - - - | - - - - - - |

 etc.


James-Bond-ish riff

The cadence from the last chord back to the first takes a 12edo cliche -- a dim 5th resolving inward to a major 3rd -- and makes it new by having an updim 5th resolve to an upmajor 3rd.

6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _
4 _ _ 4 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 7 _ _ 7 _ _ _ _ | 6 _ _ 6 _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _

6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _
4 _ _ 4 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 7 _ _ 7 _ _ _ _ | 6 _ _ 6 _ _ _ _
3 _ _ 3 _ _ _ _ | 4 _ _ 4 _ _ _ _ | 7 _ _ 7 _ _ _ _ | 2 _ _ 2 _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _

Ivm7             ^bVIv7             IVv7              V4,^b9
6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 6 _ _ 6 _ _ _ _
4 _ _ 4 _ _ _ _ | 6 _ _ 6 _ _ _ _ | 7 _ _ 7 _ _ _ _ | 6 _ _ 6 _ _ _ _
3 _ _ 3 _ _ _ _ | 4 _ _ 4 _ _ _ _ | 7 _ _ 7 _ _ _ _ | 2 _ _ 2 _ _ _ _
_ _ 5 _ _ _ 5 _ | _ _ 5 _ _ _ 5 _ | _ _ 5 _ _ _ 5 _ | _ _ 5 _ _ _ 5 _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _