Kite Guitar Originals by Kite Giedraitis
Kite Giedraitis's originals for the Kite Guitar. Originals by other people are at Kite Guitar originals.
All tabs are for a guitar tuned in downmajor 3rds. Some of these are more riffs than songs.
Evening Rondo
See TallKite.com/music/EveningRondo.html for score, tab, video and mp3s.
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. The tenor's P1 is everyone else's P8. All notes are half notes, except the 3 pickup notes ("Gimme that") are eighth notes and the final note is a whole note.
| lyrics | vocal parts | solfege | 6-string guitar tab in vDb | 6-string guitar tab in Eb | chords | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| bass | bari | lead | tenor | Bs | Br | Ld | Tn | KDF frets | frets | KDF frets | frets | |||
| Gim- | ---- | ---- | P5 | ---- | ---- | ---- | Sa | ---- | - - ₒₒ3 - - - | - - 11 - - - | - - ₒₒₒ3 - - - | - - 15 - - - | ---- | ---- |
| -me | ---- | ---- | M6 | ---- | ---- | ---- | La | ---- | - - - ₒₒ0 - - | - - - 8 - - | - - - ₒₒₒ0 - - | - - - 12 - - | ---- | ---- |
| That | ---- | ---- | vM7 | ---- | ---- | ---- | To | ---- | - - - ₒₒ3 - - | - - - 11 - - | - - - ₒₒₒ3 - - | - - - 15 - - | ---- | ---- |
| Sweet | P5 | vm7 | P8 | vM3 | Sa | Tho | ↑Da | Mo | - - ₒₒ3 ₒₒ1 ₒₒₒ1 0 | - - 11 9 13 0 | - - ₒₒₒ3 ⸰1 ⸰1 0 | - - 15 17 17 0 | Iv7 | hiR3 |
| Sweet | P4 | vM6 | vm3 | Fa | Lo | No | - ₒₒₒ2 ₒₒₒ2 ₒₒₒ1 ₒₒ3 - | - 14 14 13 11 - | - ⸰2 ⸰2 ⸰1 ₒₒₒ3 - | - 18 18 17 15 - | IVv7 | close | ||
| Har- | ^m3 | ^m6 | b5 | Nu | Flu | Sha | - ₒₒ3 ₒₒₒ1 ₒₒₒ1 - ₒₒ2 | - 11 13 13 - 10 | - ₒₒₒ3 ⸰1 ⸰1 - ₒₒₒ2 | - 15 17 17 - 14 | ^bVIv7 | lo5 | ||
| -mo- | vM2 | vm6 | P4 | Ro | Flo | Fa | ₒₒₒ3 - ₒₒₒ0 ₒₒₒ1 ₒₒₒ3 - | 15 - 12 13 15 - | ⸰3 - ⸰0 ⸰1 ⸰3 - | 19 - 16 17 19 - | vII^d^7 | hi3 | ||
| -ny | P1 | P5 | vM3 | Da | Sa | Mo | 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 (↑Da Fa Flu Tha ↑Da), 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: youtu.be/hZ55MohHUb4 (guitar & violin)
https://youtu.be/iTL_siVUnEs and https://youtu.be/uOsOQUDow6M (guitar & Linnstrument)
Video (backing part only): TallKite.com/KiteGuitar/Downminor Etude.m4v
Audio: TallKite.com/music/DownminorNocturne.mp3 (acoustic & electric guitars)
Audio (backing part only): TallKite.com/KiteGuitar/Downminor Etude.mp3
See also TallKite.com/music/DownminorNocturne.html
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.
The vocals are very close to the bass line:
Just a four-chord song (5 5 5 v3 1) (rhythm: 6 & 7 8 1)
Won't you sing along (1 1 1 vb3 4) (6 & 7 8 1)
But before too long (4 4 4 v3 vb3) (6 & 7 8 1)
You'll hear that something's wro-ong (vb3 b5 vb3 vb7 vb7 vb7 ^^5) (& 6 & 7 8 1 &)
With my four-chord song (^^5 ^^5 ^^5 ^3 ^^1) (6 & 7 8 1)
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 - - - | - - - - - - - - || - - - - - - - - ||
\\ // //
Cloud Chant
This one I wrote as a 7-limit JI vocal piece in 2014, long before the Kite Guitar. But it goes on guitar very well, if you use your thumb for the bass notes. https://tallkite.bandcamp.com/track/cloud-chant
7-string tab for hi-7 tuning, in ^^C to match the bandcamp recording:
Iv ^IIv7 ^IIvdv7 Iv7 Iv7 ^IIv7 ^IIvdv7 Iv | 14 - 14 - | 14 - 10 - | 14 10 14 - | 14 - 14 - | | 12 - - - | - - - - | 12 - - - | - - - - | | 13 - 17 - | 15 - 13 - | 13 - 17 - | 15 - 13 - | | 13 - 17 - | 13 - 13 - | 13 - 17 - | 13 - 13 - | | - - 15 - | 13 - 11 - | - - 15 - | 13 - 11 - | | - - - - | - - - - | - - - - | - - - - | | 12 - 16 - | 16 - 12 - | 12 - 16 - | 16 - 12 - |
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 _ _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _
Downminor riff
Beginning version. The fingering cues are low to high, so the initial "32" means 3rd finger on 6th string and 2nd finger on 2nd string. Note how the 4th string note is played in turn by both the 1st and 2nd fingers.
32 2 31 1 etc. _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ 0 _ | _ _ _ _ _ _ _ _ 3 _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | 3 _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ _ _ _ 5 _ _ _ _ | 1 _ _ 5 _ _ _ _ | _ _ _ 5 _ _ _ _ | 1 _ _ 5 _ _ _ _ _ _ 3 _ _ _ 3 _ | _ _ 3 _ _ _ 3 _ | _ _ 3 _ _ _ 3 _ | _ _ 3 _ _ _ 3 _ _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ 4 _ _ _ 4 _ _ _ | 4 _ _ _ 4 _ _ _ | 4 _ _ _ 4 _ _ _ | 4 _ _ _ 4 _ _ _
Advanced version:
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ 0 _ | _ _ _ _ _ _ _ _ 3 _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | 3 _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ _ _ _ 5 _ _ _ _ | 1 _ _ 5 _ _ _ _ | _ _ _ 5 _ _ _ _ | 1 _ _ 5 _ _ _ _ _ _ 3 _ _ _ 3 _ | _ _ 3 _ _ _ _ _ | _ _ 3 _ _ _ 3 _ | _ _ 3 _ _ _ _ _ _ _ _ _ _ _ _ _ | _ _ _ _ _ _ 2 _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ 2 _ 4 _ _ _ 0 _ _ _ | 4 _ _ _ 0 _ _ _ | 4 _ _ _ 0 _ _ _ | 4 _ _ _ 0 _ _ _
Harmonic Blues
https://www.youtube.com/watch?v=pix_DruZZM4
No score yet, unfinished piece.
Tiny Steps
The opposite of Coltrane's "Giant Steps"! A simple riff that modulates through 4 keys and demonstrates the freedom of an equal temperament.
The key goes up by smaller intervals each time. The bass line changes key a bit earlier than the high line does.
Play it slow and staccato, with lots of swing. "1--3", "9--11", etc. all indicate an optional slide up 2 frets.
Video: https://www.youtube.com/watch?v=s0QUqWhFMks
in B | _ _ 4 _ 1 _ _ _ | _ _ 2 _ _ _ _ _ | _ _ 4 _ 1 _ _ _ | _ _ 2 _ 1 _ 0 _ |
| _ _ 0 _ 0 _ 0 4 | _ _ _ _ 4 _ 0 _ | 4 _ 0 _ 0 _ 0 4 | _ _ _ _ _ _ _ _ |
_ _ 2 | _ _ _ _ _ _ 2 _ | _ _ 5 _ 5 _ _ 2 | _ _ _ _ _ _ 2 _ | _ 2 _ 2 _ _ _ _ |
1--3 _ | _ _ _ _ _ 3 _ _ | 5 _ _ _ _ 1--3 _ | _ _ _ _ _ 3 _ _ | _ _ _ _ _ _ _ 10 |
| 3 _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | 3 _ _ _ _ _ _ _ | 3 _ _ _ _ 9--11 _ |
| _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ |
in C | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ |
| _ _ 12 _ 9 _ _ _ | _ _ 10 _ _ _ _ _ | _ _ 12 _ 9 _ _ _ | _ _ 10 _ 9 _ 8 _ |
|12 _ 8 _ 8 _ 8 12 | _ _ _ _ 12 _ 8 _ |12 _ 8 _ 8 _ 8 12 | _ _ _ _ _ _ _ _ |
| _ _ _ _ _ _ 10 _ | _ _ 13 _ 13 _ _ 10 | _ _ _ _ _ _ 10 _ | _ 10 _ 10 _ _ _ 11 |
| _ _ _ _ _ 11 _ _ |13 _ _ _ _ 9--11 _ | _ _ _ _ _ 11 _ _ | _ _ _ _ _ 10--12 _ |
|11 _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ |11 _ _ _ _ _ _ _ |11 _ _ _ _ _ _ _ |
in ^^C | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ |
or vDb | _ _ 13 _ 10 _ _ _ | _ _ 11 _ _ _ _ _ | _ _ 13 _ 10 _ _ _ | _ _ 11 _ 10 _ 9 _ |
|13 _ 9 _ 9 _ 9 13 | _ _ _ _ 13 _ 9 _ |13 _ 9 _ 9 _ 9 13 | _ _ _ _ _ _ _ 5 |
| _ _ _ _ _ _ 11 _ | _ _ 14 _ 14 _ _ 11 | _ _ _ _ _ _ 11 _ | _ 11 _ 11 _ 4--6 _ |
| _ _ _ _ _ 12 _ _ |14 _ _ _ _ 10--12 _ | _ _ _ _ _ 12 _ _ | _ _ _ _ _ _ _ _ |
|12 _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ |12 _ _ _ _ _ _ _ |12 _ _ _ _ _ _ _ |
in Db | _ _ 7 _ 4 _ _ _ | _ _ 5 _ _ _ _ _ | _ _ _ _ 7 _ _ _ | 4 _ _ _ _ _ _ _ |
| 7 _ 3 _ 3 _ 3 7 | _ _ _ _ 7 _ 3 _ | 7 _ _ _ 3 _ _ _ | 3 _ _ _ _ _ _ _ |
| _ _ _ _ _ _ 5 _ | _ _ 8 _ 8 _ _ 5 | _ _ _ _ 5 _ _ _ | 5 _ _ _ _ _ _ _ |
| _ _ _ _ _ 6 _ _ | 8 _ _ _ _ 4--6 _ | _ _ _ _ _ _ _ _ | 6 _ _ _ _ _ _ _ |
| 6 _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | 6 _ _ _ 6 _ _ _ | - _ _ _ _ _ _ _ |
| _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ |