Kite Guitar Translations by Kite Giedraitis

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Kite Giedraitis's translations for the Kite Guitar. Translations by others are here. The original 12-edo chords are simply the 41-edo chords with the ups and downs omitted. All tabs are for a guitar tuned in downmajor 3rds, unless otherwise noted. Triadic songs use mostly triads and end on a triad, tetradic songs use mostly tetrads and end on a tetrad. The distinction is somewhat arbitrary, especially since sometimes in the course of translation triads become tetrads. The triadic songs tend to be 5-limit, and the tetradic ones tend to be 7-limit or higher.

Triadic Songs

These Boots Are Made For Walkin' (Lee Hazlewood)

The only #1 single with a microtonal bass line! (so far, anyway) https://www.youtube.com/watch?v=TDmidrIDB4o

 bass run -----------------------> 
 Iv       /       /       /       /        /       /       /

 Iv       /       /       /       /        /       /       /

 IVv      /       /       /       Iv       /       /       /

^bIIIv    I^m    ^bIIIv   I^m    ^bIIIv    I^m     N.C. 

The original key is E. But for a solo 6-string arrangement, the bass run needs to sound bassy, which means the tonic needs to be low on the 6th string. Ab is a good key.

 Iv      Abv    4 . 3 5 5 .

 IVv     Dbv    . 6 6 5 7 .

^bIIIv  ^Cbv    . 3 3 2 4 .

 I^m     Ab^m   4 . 3 5 4 .

The Iv chord is played as a v chord with a quick passing vm chord. In Ab, the frets are 4x355x and 4x353x. The fingerings are 2x134x and 2x131x. The original has a strumming pattern of down down-up-down down-up with the vm chord only on the 2nd & 4th downs, but many other rhythms are possible.

While the verse has a passing Ivm, the chorus has I^m. It's rare to translate a single chord to both downminor and upminor. But I^m in the verse would be much harder to play as a passing chord. And Ivm in the chorus would imply a harsh vbIII^. Some versions of this song have a major I chord during the chorus, which avoids the issue. BTW, some versions have the I and IV chords in later verses become dom7 chords. These can be translated to v7 chords.

In the original, the bass run walks by quartertones of 50¢ from the 8ve down to the half-flat 4th, then jumps down to the tonic. The Kite guitar has steps of either ~60¢ or ~30¢, so it can't duplicate that exactly. This is a blessing in disguise, because there are many ways to approximate the original, and we can be creative in our choices.

This way uses mostly steps of 60¢, but a 30¢ step when moving to the next string. The run ends on a vM3. This is absolute tab, so (3,5) means 3rd string, 5th fret.

(3,5) (3,4) (3,3) (3,2) | (3,1) (3,0) (4,6) (4,5) | (4,4) (4,3) (4,2) (4,1) | (4,0) (5,6) (5,5) (5,4) 

The melody can be varied by moving to the next string earlier, so that the 30¢ step happens sooner. For example, the 6th note could be (4,7).

This way uses steps of 60¢ and 90¢ and ends on the vm3. This is further from the original but sounds better melodically to me. The 30¢ step sounds annoyingly small. Again, one can vary the melody by moving to the next string earlier.

(3,5) (3,4) (3,3) (3,2) | (3,1) (3,0) (4,5) (4,4) | (4,3) (4,2) (4,1) (4,0) | (5,5) (5,4) (5,3) (5,2)

Yet another way uses only the 5th string. It starts on the 18th fret and walks down to the 3rd fret, the ^m3. It uses only 60¢ steps, very nice melodically. But it has the ^5 and v5 and no P5. In a solo arrangement, that's no problem, but in a band setting it might clash too much with the Iv chord.

All of these ways can be varied by lowering the last few notes so that the final leap down to the tonic is smaller. For example, the last 4 notes of the last example could be (5,6) (5,4) (5,2) (5,0).

Every one of these possibilities works well, and since the bass run happens 4-5 times in the song, there's no reason to play it the same way twice!

Finally, here's an advanced version combining the bass run with the Iv chord.

| - - 4 4 - - 4 4 | - - 4 4 - - 4 4 | - - 4 4 - - 4 4 | - - 4 4 - - 4 4 |
| - - 5 5 - - 5 5 | - - 5 5 - - 5 5 | - - 5 5 - - 5 5 | - - 5 5 - - 5 5 |
| 5 - 4 - 3 - 2 - | 1 - 0 - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - 5 - 4 - | 3 - 2 - 1 - 0 - | - - - - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | 5 - 4 - 3 - 2 - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |


Sleep Drifter (King Gizzard and the Lizzard Wizard)

The original is in 24-edo, which 41-edo can approximate fairly well. The scale I chose is the equi-minor scale, P1 ~2 ^m3 P4 P5 ~6 ^m7 P8 or F# ^^G ^A B C# ^^D ^E F#. I could have approximated 24edo even better by using the plain minor 3rd and 7th. But the upminor sounds better to my ear, and is less awkward to play.

There's only two chords, I^m and ^bVII^m (F#^m and ^E^m). As usual with minor scales, the 4th is fuzzy. During the ^E^m chord, the B note changes to ^B. One could consider these two chords to be F#5 and ^E5 dyads, or F#^m7 and ^E^m7 tetrads. It depends on what you call melody and what you call harmony.

There is a frequent melodic ornament that uses a hammer-on and a pull-off to rapidly move from ^^G up to G# and back, or from ^^D to D# and back. The opening riff runs down the scale from C# to F# a 12th below, using this ornament several times on the low ^^G note.

"Drifting in and out of sleep..."

F# ^E F# F# ^^D ^^D C#
F# ^E F# ^A ^^D ^^D C#
F# ^E F# F# ^^D ^^D C#
F# ^E F# ^A ^^D* C# ^B   *ornamented

"Sleep drifter sleep drifter"

^^D ^E F# ^^G ^A B C#

"I can feel you touch me..."

F# ^^G ^A ^A ^^G F#
C# F# ^^G ^A C# ^^G F#
F# ^^G ^A ^A ^^G F#
F# ^^G ^A B ^^G F#

Good In Bed (Dua Lipa)

The chords are G^m - Cv - Fv - Dv,7. I used a plain 7th not a down 7th in the D chord to avoid frequent pitch shifts, because the vocal melody uses C a lot. In fact C could be considered the tonic, making the chords V^m - Iv - IVv - IIv,7.

Except for the chorus, the melody uses the C downmajor scale C D vE F G vA vB C. But instead of the 2nd, it's the 6th that's fuzzy, with the vA changing to A over the G^m and Dv,7 chords.

How to tune the "bad"s in the microtonal chorus? The interval between the 1st and last "bad" is about a major 2nd or minor 3rd. The singing isn't perfectly consistent, so it doesn't matter a whole lot melodically which exact note we start from. More important is that the 1st "bad" relates to the underlying chord, to make it easy to sing. My approach was just to find something on the Kite guitar that was playable and harmonized well.

D is the 5th of the G^m chord, but that seemed too low. ^D and Eb clashed too much with the G^m chord, and ^Eb felt too high. So that left vEb. Over the Fv chord, it makes a beautiful v7 chord. Over the G^m chord, it makes a vm6 from the root and an ^M3 from the 3rd, harsh but possible.

But the downminor 3rd is 9 edosteps of 41, and an equal melody is impossible. There has to be one step that's larger. I chose to make the last step the largest, making vEb D vvD Db C. But the 2nd or 3rd step could be the large one. Not the 1st step, because vD makes a very wolfy off-5th with the G^m chord. So the second note should definitely be plain D. This note does make a somewhat wolfy plain M6 over the F chord, but that's the lesser of two evils. Another possibility: one could walk down differently over each chord. Over the G chord, vEb D vvD Db C, and over the F chord, vEb vD ^Db vDb C . But this makes the melody considerably more complicated.

Chorus ("I know it's really bad, bad, bad, bad, bad")

C C C C C vEb D vvD Db C (3x)
A G F vE vA vE D


Simple Twist Of Fate (Bob Dylan)

This song uses lots of inversions to create its distinctive bass line. The original Blood On The Tracks version uses an open D tuning, capo'ed up to E. The translation is mostly 5-limit. The only 7-limit chord is Av7, which could become a 5-limit chord, Av,7.

Dv       /       /       /       Dv/vC#   /       /       /

Dv/C     /       /       /       Gv/vB    /       /       /

G^m/^Bb  /       /       /       Dv       A4/vC#  Gv/vB   /

Dv/A     /       Av7     /       Dv       /       /       /

Relative notation. The number after the slash indicates the interval from the root of the chord, not from the tonic of the scale. The reason for this is explained in the Notation Guide for Edos, near the end of section 3.

Iv       /       /       /       Iv/vM7   /       /       /

Iv/7     /       /       /       IVv/3    /       /       /

IV^m/3   /       /       /       Iv       V4/v3   IVv/3   /

Iv/5     /       Vv7     /       Iv       /       /       /

Tab in ^C downmajor for a 6-string guitar. Detune the top string by a half-fret, to make a unison with the 2nd string 6th fret, and an 8ve with the 5th string 5th fret. Capo up 6 or 7 frets to get close to the original key of E.

Iv       . 5 5 4 . 0

Iv/vM7   . 3 5 4 . 0

Iv/7     8 . 5 4 . 0

IVv/3    6 . 7 7 . 0

IV^m/3   5 . 7 6 . 0  (see note below)

Iv       . 5 5 4 . 0  (as before)
V4/v3    . 3 2 4 . 0
IVv/3    6 . 7 7 . 0  (as before)

Iv/5     3 . 5 4 . 0
Vv7      3 . 2 0 4 .

Iv       . 5 5 4 . 0  (as before)

The Blood On The Tracks version has the IVm chord voiced R-3-5. But I like it voiced with the 3rd in the bass. I like the tension created by the bass line slowly approaching the 5th, then suddenly jumping back up to the 8ve. For Dylan's voicing, just omit the bass and play . . 7 6 . 0

Fast Car (Tracy Chapman)

For 6 strings. Key is ^^F downmajor, the open 6th string. Capo on the 6th fret for the original key of 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. One solution is to tune the 2nd and 3rd string up one fret.

   -   -   -   0  | -   0   -   -  | -   -   -   -  | -   -   -   -
   0   2   0   -  | -   -   -   -  | 14 (17) 14  12 | -   12  -   -  (tune this string up 1 fret)
   0   -   0   0  | -   -   0   -  | 0   -   -   0  | -   -   0   -  (tune this string up 1 fret)
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   2   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   0  | -   -   -   -  | 15  -   -   12 | -   -   -   -

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. Unfortunately this means chord shapes are no longer isomorphic. Another solution is a partial capo on fret 1 on strings 2 and 3, and perhaps 4 as well. This too avoids the 14th fret note. Bolded notes are capo'ed open strings:

   -   -   -   0  | -   0   -   -  | -   -   -   -  | -   -   -   -
   1   3   1   -  | -   -   -   -  | 15 (18) 15  13 | -  13   -   -  (capo this string up 1 fret)
   1   -   1   1  | -   -   1   -  | 1   -   -   1  | -   -   1   -  (capo this string up 1 fret)
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   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  .

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 tonic should be at least 3 dots up the neck, to allow room to walk down. The melody strays from the key.

Another approach is to avoid melodic drift by allowing a pitch shift between the 2nd and 3rd chords.

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 upminor 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,^7, 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,^7     |  I^m       /
                             |                        |                        |
 ^bIIIv             /        |  ^bVIIv        V^m     |  ^bVIv       IV^m      |  Vv        /
                             |                        |                        |
 ^bIIIv             /        |  ^bVIIv        V^m     |  ^bVIv       Vv,^7     |  I^m       /

It's hard to recreate the usual 12-edo fingerpicking version with just 6 strings. 8 strings is really needed for that.

6-string tab in E upminor:

       Ivm                  ^bIIIv               ^bVIIv               V^m
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  1  .  |  4  .  .  6  4  .  |  1  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  4  .  .  .  .  .  |  4  .  .  .  .  .  |  2  .  .  .  2  .  |  .  .  .  .  2  .  |
5 . |  .  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  5  .  .  |
    |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  0  .  .  .  .  .  |  3  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |

       ^bVIv                IV^m                 Vv
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  4  .  .  .  .  .  |  .  .  .  .  .  .  |  2  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  5  .  .  .  5  .  |  5  .  .  3  5  .  |  3  .  .  .  3  .  |  .  .  .  .  5  .  |
    |  5  .  .  .  .  .  |  5  .  .  .  .  .  |  3  .  .  .  .  .  |  3  .  .  .  .  .  |
    |  3  .  .  .  .  .  |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |

       Ivm                  ^bIIIv               ^bVIIv               V^m
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  1  .  |  4  .  .  6  4  .  |  1  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  4  .  .  .  .  .  |  4  .  .  .  .  .  |  2  .  .  .  2  .  |  .  .  .  .  2  .  |
    |  .  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  5  .  .  |
    |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  0  .  .  .  .  .  |  3  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |

       ^bVIv                Vv,^7                I^m  
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  4  .  .  2  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  5  .  .  .  5  .  |  3  .  .  0  3  .  |  5  .  .  .  .  .  |  5  .  .  .  .  .  |
    |  5  .  .  .  .  .  |  0  .  .  .  .  .  |  3  .  .  .  3  .  |  .  .  .  .  .  .  |
    |  3  .  .  .  .  .  |  1  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |

    -------------------------------------------------------------------------------------

       ^bIIIv                                    ^bVIIv               V^m
    |  3  .  .  .  .  .  |  3  .  .  1* .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |   * play one or
    |  4  .  .  .  .  .  |  .  .  .  6* 4  .  |  1  .  .  .  .  .  |  .  .  .  .  .  .  |     the other,
    |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  2  .  .  .  2  .  |  .  .  .  .  2  .  |     not both
    |  2  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  5  .  .  |
    |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  0  .  .  .  .  .  |  3  .  .  .  .  .  |          
    |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |         
                                                                                                 
       ^bVIv                IV^m                 Vv                                                
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |          
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |          
    |  4  .  .  .  .  .  |  .  .  .  .  .  .  |  2  .  .  .  .  .  |  .  .  .  .  .  .  |          
    |  5  .  .  .  5  .  |  5  .  .  3  5  .  |  3  .  .  .  3  .  |  .  .  .  .  5  .  |          
    |  5  .  .  .  .  .  |  5  .  .  .  .  .  |  3  .  .  .  .  .  |  3  .  .  .  .  .  |          
    |  3  .  .  .  .  .  |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |          
                                                                                                   
       ^bIIIv                                    ^bVIIv               V^m                          
    |  3  .  .  .  .  .  |  3  .  .  1* .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |   * same
    |  4  .  .  .  .  .  |  4  .  .  6* 4  .  |  1  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  2  .  .  .  2  .  |  .  .  .  .  2  .  |
    |  2  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  .  .  .  |  2  .  .  5  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  0  .  .  .  .  .  |  3  .  .  .  .  .  |
    |  3  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |  1  .  .  .  .  .  |

       ^bVIv                Vv,^7                I^m  
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  4  .  .  2  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  5  .  .  .  5  .  |  3  .  .  0  3  .  |  5  .  .  .  .  .  |  5  .  .  .  .  .  |
    |  5  .  .  .  .  .  |  0  .  .  .  .  .  |  3  .  .  .  3  .  |  .  .  .  .  .  .  |
    |  3  .  .  .  .  .  |  1  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |

8-string tab in A upminor. Adding the notes in parentheses creates the passing chords.

      Ivm      (^bVIIv)    ^bIIIv               ^bVIIv               V^m
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  3  .  |  6  .  .  8  6  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  6  .  .  .  .  .  |  6  .  .  .  .  .  |  4  .  .  .  4  .  |  .  .  .  .  4  .  |
7 . |  .  .  .  . (4) .  |  .  .  4  .  .  .  |  .  .  .  .  .  .  |  4  .  .  7  .  .  |
    |  .  .  5  .  .  .  |  .  .  .  .  .  .  |  .  .  2  .  .  .  |  5  .  .  .  .  .  |
    |  .  .  .  . (3) .  |  5  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  3  .  .  .  |
    |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |

       ^bVIv                IV^m                 Vv
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  7  .  .  .  7  .  |  7  .  .  5  7  .  |  5  .  .  .  5  .  |  .  .  .  .  7  .  |
    |  .  .  .  .  .  .  |  7  .  .  .  .  .  |  .  .  .  .  .  .  |  5  .  .  .  .  .  |
    |  .  .  5  .  .  .  |  .  .  8  .  .  .  |  .  .  3  .  .  .  |  .  .  3  .  .  .  |
    |  .  .  .  .  .  .  |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |

       Ivm      (^bVIIv)   ^bIIIv                ^bVIIv               V^m
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  3  .  |  6  .  .  8  6  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  6  .  .  .  .  .  |  6  .  .  .  .  .  |  4  .  .  .  4  .  |  .  .  .  .  4  .  |
    |  .  .  .  . (4) .  |  .  .  4  .  .  .  |  .  .  .  .  .  .  |  4  .  .  7  .  .  |
    |  .  .  5  .  .  .  |  .  .  .  .  .  .  |  .  .  2  .  .  .  |  5  .  .  .  .  .  |
    |  .  .  .  . (3) .  |  5  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  3  .  .  .  |
    |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |

       ^bVIv                Vv,^7                I^m  
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  6  .  .  4  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  7  .  .  .  7  .  |  5  .  .  2  5  .  |  7  .  .  .  .  .  |  7  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  2  .  .  .  .  .  |  5  .  .  .  5  .  |  .  .  .  .  .  .  |
    |  .  .  5  .  .  .  |  .  .  3  .  .  .  |  .  .  5  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  6  .  .  .  .  .  |  6  .  .  .  .  .  |
    |  6  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |

    -------------------------------------------------------------------------------------

       ^bIIIv                                    ^bVIIv               V^m
    |  5  .  .  .  .  .  |  5  .  .  3* .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |   * play one or
    |  6  .  .  .  .  .  |  6  .  .  8* 6  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |     the other,
    |  .  .  .  .  6  .  |  .  .  .  .  .  .  |  4  .  .  .  4  .  |  .  .  .  .  4  .  |     not both
    |  .  .  4  .  .  .  |  .  .  4  .  .  .  |  .  .  .  .  .  .  |  4  .  .  7  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  2  .  .  .  |  5  .  .  .  .  .  |          
    |  5  .  .  .  .  .  |  5  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  3  .  .  .  |         
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |        
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |          
                                                                                                   
       ^bVIv                IV^m                 Vv                                                
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |          
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |          
    |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |          
    |  7  .  .  .  7  .  |  7  .  .  5  7  .  |  5  .  .  .  5  .  |  .  .  .  .  .  .  |          
    |  .  .  .  .  .  .  |  7  .  .  .  .  .  |  .  .  .  .  .  .  |  5  .  .  .  .  .  |          
    |  .  .  5  .  .  .  |  .  .  8  .  .  .  |  .  .  3  .  .  .  |  .  .  3  .  .  .  |          
    |  .  .  .  .  .  .  |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |          
    |  6  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |          
                                                                                                   
       ^bIIIv                                    ^bVIIv               V^m                          
    |  5  .  .  .  .  .  |  5  .  .  3* .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |   * same
    |  6  .  .  .  .  .  |  6  .  .  8* 6  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  | 
    |  .  .  .  .  6  .  |  .  .  .  .  .  .  |  4  .  .  .  4  .  |  .  .  .  .  4  .  | 
    |  .  .  4  .  .  .  |  .  .  4  .  .  .  |  .  .  .  .  .  .  |  4  .  .  7  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  2  .  .  .  |  5  .  .  .  .  .  |
    |  5  .  .  .  .  .  |  5  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  3  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  3  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  4  .  .  .  .  .  |

       ^bVIv                Vv,^7                I^m  
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  6  .  .  4  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |
    |  7  .  .  .  7  .  |  5  .  .  2  5  .  |  7  .  .  .  .  .  |  7  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  2  .  .  .  .  .  |  5  .  .  .  5  .  |  .  .  .  .  .  .  |
    |  .  .  5  .  .  .  |  .  .  3  .  .  .  |  .  .  5  .  .  .  |  .  .  .  .  .  .  |
    |  .  .  .  .  .  .  |  .  .  .  .  .  .  |  6  .  .  .  .  .  |  6  .  .  .  .  .  |
    |  6  .  .  .  .  .  |  4  .  .  .  .  .  |  .  .  .  .  .  .  |  .  .  .  .  .  .  |

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      /
                                             |                                 |
   chorus:    vVI^m    Vv     vVI^m   vIII^m |  vVI^m   vIII^m   Vv      Vv7   |
                                             |                                 |
2nd verse:    II^m    VI^m    II^m    VI^m   |  II^m    VI^m    ^IVv    ^Vv    |  ^Iv      / 

Every Breath You Take (The Police)

Lots of added 9th chords. 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      /     |
          |                                     |                                    
outro     |   Iv,9      /      vVI^m,9  IV5,vM7 |

Tab for 6-string guitar, in the key of vvB

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  -


Tetradic 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 plain-D root could be used. But using a down-D root links the D chord more strongly to the F chord. This makes the first 4 chords of the song feel like only two: Fv6 and CM9.

Fv     vD^m7    Gvm7    Cv7    |    Fv     vD^m     vA^m
                               |
Fv7    Bbv      Cv7     vD^m   |    Fv     Bbv      Cv7
                               |
Fv     vD^m7    Gvm7    Cv7    |


Bbv    vA^m    vD^m7    /      |    Gvm7    Cv7     Fv      Fv7 
                               |
Bbv    vA^m    vD^m7    /      |    Gv7      /      Cv7      /


Love Is A Losing Game (Amy Winehouse)

Source for the chords: https://www.youtube.com/watch?v=l3NN5jywLBs

intro:  F^d7 

main:   CvM7     Fv/G     F^m7     CvM7  (2x)

        vA^m7    vD^m7    F^m7     CvM7

        CvM7     Fv/G     F^m7     CvM7

        F^d7     G#vd7 

intro:  IV^d7 

main:   IvM7     IVv/2    IV^m7    IvM7  (2x)

        vVI^m7   vII^m7   IV^m7    IvM7

        IvM7     IVv/2    IV^m7    IvM7

        IV^d7    #Vvd7 

No comma pumps, in fact every chord except for the two dim7 chords contains the tonic. The chords are mostly 5-limit.

The IV/2 chord can be thought of as a V11no35 chord. This is an innate-comma chord. The 7th and 11th must make a perfect 5th. The 11th should be plain (8/3). The 9th should too (9/4). It should also be 5/4 above the 7th. Not all of these can be true. This translation uses IVv/2 = V11(v9)no35. The down-9th is a somewhat wolfy 20/9 or 11/5. It's a little awkward to play. It helps to finger the bass note last. Another possibility is ^IVv/v2 = V^9,^11no35 = x3xx110. The wolfy up-11th is 27/10 or 19/7. It causes a pitch shift for the tonic.

in 12edo, the two dim7 chords are equivalent, and can be thought of as a V7b9noR chord. There are several ways to translate them to 41edo. For the first chord, I chose to make the root and 3rd match the IV^m7 chord. For the second chord, I chose to keep as many common notes as possible with the previous chord, and to have the 3rd match the 7th of the following chord.

A note-for-note translation to plain C isn't possible because there is no low F on the guitar. So this translation is in ^C downmajor, for a 7-string guitar in low-7 tuning.

^F^d7     . 20  . 17 16 20  . 

   
^CvM7     .  .  5  .  4  4  6

^Fv/^G    .  3  .  7  7  6  .

^F^m7     6  .  .  4  6  6  .

^CvM7     (as before)


 A^m7     .  6  .  .  4  6  6

 D^m7     .  .  8  .  7  6  8

^F^m7     (as before)

^CvM7     (as before)


^F^d7     (as before)

^G#vd7    .  . 19  . 16 14 18 

The picking pattern:

 -   -   6   -  | -   6   -   -  | -   -   -   -  | -   -   -   -
 -   -   4   -  | -   4   -   -  | -   -   6   -  | -   6   -   -
 -   4   -   -  | -   4   -   -  | -   -   7   -  | -   7   -   -    etc.
 -   -   -   -  | -   -   -   -  | -   7   -   -  | -   7   -   -
 5   -   -   5  | 5   -   -   -  | -   -   -   -  | -   -   -   -
 -   -   -   -  | -   -   -   -  | 3   -   -   3  | 3   -   -   -
 -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -


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. The turnaround chord is an aug chord.

Gv7   D^m vE^m    Dvm     Gv9   |   Cv7   G^m vA^m   Gvm     Cv9
                                |
Gv7      /       ^Abv7     /    |   Gv7       /       /       / 
                                |
Cv7   G^m vA^m    Gvm     Cv9   |   Cv7       /       /       / 
                                |
Gv7      /        vA^m7    /    |  vB^m7      /     vBb^m7    / 
                                |
vA^m7    /          /      /    |   C^m7      /       /       /  
                                |
Gv7      /         Cv7     /    |   Gv7       /     Dva       /  

In relative notation:

Iv7   V^m vVI^m   Vvm     Iv9   |  IVv7   I^m vII^m  Ivm     IVv9
                                |
Iv7      /       ^bIIv7    /    |  Iv7        /       /       / 
                                |
IVv7  I^m vII^m   Ivm     IVv9  |  IVv7       /       /       / 
                                |
Iv7      /       vII^m7    /    | vIII^m7     /    vbIII^m7   / 
                                |
vII^m7   /          /      /    |  IV^m7      /       /       /  
                                |
Iv7      /        IVv7     /    |   Iv7       /     Vva       /  

Chords for 6-string guitar, in A downmajor

Iv7         6  .  5  3  7  .        

V^m         .  .  5  4  4  .        fingering is 3 2 2

vVI^m       .  .  8  7  7  .        slide into this chord from the previous D^m

Vvm         .  .  5  3  4  .        actually the top part of a Iv9 chord, fingering is 3 1 2

Iv9         6  .  5  3  4  .        actually a Gv9no3, fingering is 4 . 3 1 2

IVv7        .  8  8  7  5  .

I^m         .  .  .  7  6  6        fingering is 3 2 2

vII^m       .  .  .  10 9  9        slide into this chord from the previous G^m

Ivm         .  .  .  7  5  6        fingering is 3 1 2

IVv9        .  8  .  7  5  6        fingering is 4 . 3 1 2

^bIIv7      8  .  7  5  9  .

vII^m7      9  .  8  7  9  .

vIII^m7     .  6  .  5  4  6

vbIII^m7    .  4  .  3  2  4

IV^m7       .  8  7  7  6  .        some people play a different chord here

Vva         .  .  5  5  6  6        could be translated as Vv(^^5) or Vvhalf-aug 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.

A^m7      D^m7       Gv7       CvM7  

FvM7      Bvdv7      Esus4     Ev7

In relative notation:

I^m7      IV^m7      bVIIv7    bIIIvM7
  
bVIvM7    IIvdv7     Vsus4     Vv7

Tab for 6-string guitar in the key of D 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

IIvdv7     .  .  5  3  2  2

Vsus4      6  .  5  7  9  .

Vv7        6  .  5  3  7  . 

Tab 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

IIvdv7     .  5  3  2  2  .

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
                               | 
 E^m7     /     A^m7     /     |  B4     B^7    E^m7     /
                               | 
 ^Cv7     /     ^Gv7     /     | ^Cv7     /      B4     B^7


 ^Gv7   ^Dv7    E^m7   ^Gv7    | ^Cv7    B^7     A^9   ^Cv7
                               | 
 ^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     /
                               | 
 ^bVIv7   /    ^bIIIv7   /     | ^bVIv7   /   ^bIIIv7  V4 V^7
                               | 
 I^m7     /     IV^m7    /     |  V4     V^7    I^m7     /
                               | 
 ^bVIv7   /    ^bIIIv7   /     | ^bVIv7   /      V4     V^7


^bIIIv7 ^bVIIv7 I^m7  ^bIIIv7  | ^bVIv7  V^7    IV^9   ^bVIv7
                               | 
^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 vBb upminor:

 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 a Meantone 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 vB, 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 second #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.

FvM9        /      Gv6        /      |    vG^m7   F#v7(b5)   FvM7    F#v7(b5)
                                     |
F#vM7       /      Bv7        /      |    F#^m9      /       ^Dv7      /
                                     |
^G^m9       /      vvEv7      /      |    A^m7    Dv7b9b12   G^m7    Cv7b9b12 

Relative notation.

IvM9        /      IIv6       /      |    vII^m7  #Iv7(b5)   IvM7    #Iv7(b5)
                                     |
#IvM7       /      #IVv7      /      |    #I^m9      /       ^VIv7     /
                                     |
^II^m9      /      ~VIIv7     /      |    III^m7  VIv7b9b12  II^m7   Vv7b9b12 

Tab in vB, 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 ^bIIIvM7

          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, in vC:

 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

Linus and Lucy (Vince Guaraldi)

This song has lots of 6th chords and the melody uses 2nds a lot. The resultant 6/9 harmony is an innate-comma chord, but it's not an issue because the 6th and the 9th overlap only very briefly, thus the (fleeting) v6,9 harmony doesn't sound wolfy.

Intro:   Abv    /    Abv6   /    Abv    /    Abv6   /

A part:  Abv    /    Abv6   /    Abv    /    Abv6   /

         Abv    /    Abv6   /   ^Cbv    /   ^Cbv6   /    Abv    /    Abv6   /

B part:  Dbv   Ebv   Abv6   /    Dbv   Ebv   Abv6   /    Dbv   Ebv   Abv6   /    Abv    /    Abv6   /

In relative notation:

Intro:   Iv     /    Iv6    /    Iv     /    Iv6    /

A part:  Iv     /    Iv6    /    Iv     /    Iv6    /

         Iv     /    Iv6    /  ^bIIIv   /  ^bIIIv6  /    Iv     /    Iv6    /

B part:  IVv    Vv   Iv6    /    IVv    Vv   Iv6    /    IVv    Vv   Iv6    /    Iv     /    Iv6    /

Tab for 8-string guitar in Eb downmajor (the lowest key possible).

   Iv                                Iv6
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   3   -  | -   3   -   -  | -   -   -   -  | -   -   -   -
   -   1   -   -  | 1   -   -   -  | -   1   4   -  | 1   4   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   2   -   -   2  | -   -   -   2  | -   -   -   2  | -   -   -   2

   Iv                                Iv6 
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   4
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   3
   -   -   3   -  | -   3   -   -  | -   -   -   -  | -   -   -   -
   -   1   -   -  | 1   -   -   -  | -   1   4   -  | 1   4   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   2  | -   -   -   2  | -   -   -   2  | -   -   -   2


   Iv                                Iv6
   -   1   4   -  | 4   1   -   -  | 1   -   -   -  | -   -   -   - 
   -   -   4   -  | 4   -   4   -  | -   -   -   4  | -   -   -   4
   -   2   -   -  | -   2   -   -  | 2   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   3   -  | -   -   -   3  | -   -   -   3
   -   -   3   -  | -   3   -   -  | -   -   -   -  | -   -   -   -
   -   1   -   -  | 1   -   -   1  | -   1   4   -  | 1   4   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   2  | -   -   -   -  | 2   -   -   2  | -   -   -   2

   Iv                                Iv6 
   -   1   4   -  | 4   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   4   -  | 4   -   -   -  | -   -   -   -  | -   -   -   4
   -   2   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   3
   -   -   3   -  | -   3   -   -  | -   -   -   -  | -   -   -   -
   -   1   -   -  | 1   -   -   -  | -   1   4   -  | 1   4   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   2  | -   -   -   2  | -   -   -   2  | -   -   -   2

   Iv                                Iv6 
   -   1   4   -  | 4   1   -   -  | 1   -   -   -  | -   -   -   -
   -   -   4   -  | 4   -   4   -  | -   -   -   4  | -   -   -   4
   -   2   -   -  | -   2   -   -  | 2   -   -   -  | -   -   -   2
   -   -   -   -  | -   -   3   -  | -   -   -   3  | -   -   -   -
   -   -   3   -  | -   3   -   -  | -   -   -   -  | -   -   -   -
   -   1   -   -  | 1   -   -   1  | -   1   4   -  | 1   4   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   1
   -   -   -   2  | -   -   -   -  | 2   -   -   2  | -   -   -   -

  ^bIIIv                            ^bIIIv6 
   -   -   -   1  | 1   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   4
   -   -   -   2  | 2   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   2   -  | -   2   -   -  | -   -   -   -  | -   -   -   3
   -   0   -   -  | 0   -   -   -  | -   0   3   -  | 0   3   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   1  | -   -   -   1  | -   -   -   1  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   2

   Iv                                Iv6 
   -   -   -   1  | 1   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   2  | 2   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   3   -  | -   3   -   -  | -   -   -   -  | -   -   -   -
   -   1   -   -  | 1   -   -   -  | -   1   4   -  | 1   4   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   2  | -   -   -   2  | -   -   -   2  | -   -   -   2

   ----------------------------------------------------------------

   IVv         Vv       Iv6
   6   6   6   1  | -   18  18  18 | 18  18  18  18 | 18  18  18  -
   4   4   4   2  | -   16  19  19 | 16  19  19  16 | 19  19  16  -
   5   5   5   2  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   1  | -   -   -   -  | -   -   -   -  | -   -   -   -
   4   4   4   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   2

   IVv         Vv       Iv6
   6   6   6   1  | -   18  18  18 | 18  18  18  18 | 18  18  18  -
   4   4   4   2  | -   16  19  19 | 16  19  19  16 | 19  19  16  -
   5   5   5   2  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   1  | -   -   -   -  | -   -   -   -  | -   -   -   -
   4   4   4   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   2

   IVv         Vv       Iv6
   6   6   6   1  | -   18  18  18 | 18  18  18  18 | 18  18  18  -
   4   4   4   2  | -   16  19  19 | 16  19  19  16 | 19  19  16  -
   5   5   5   2  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   1  | -   -   -   -  | -   -   -   -  | -   -   -   -
   4   4   4   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -

   Iv                                Iv6
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   4   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   2   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   -   -   3   -  | -   3   -   -  | -   -   -   -  | -   -   -   -
   -   1   -   -  | 1   -   -   -  | -   1   4   -  | 1   4   -   -
   -   -   -   -  | -   -   -   -  | -   -   -   -  | -   -   -   -
   2   -   -   2  | -   -   -   2  | -   -   -   2  | -   -   -   -

Barbershop tags

These are mostly translations of traditional arrangements, as opposed to re-arrangements. Thus the individual parts are changed only by adding in ups and downs.

Barbershop often uses very close voicings of a major 2nd. When this 2nd translates to a vM2 or an ^M2, both notes occur on the same string. The tab resolves the issue by using an open string, or using tapping. Even if a note-for-note guitar performance of the tag is awkward, the tabs are still valuable for conveying to the singers subtle microtonal nuances.

See also Aaron Wolf's My old Kentucky Home translation.

Please Don't Sell My Daddy No More Wine (Tom Lane)

A rather conventional country song from 1964 that is the basis for a very popular barbershop tag. The tag is full of dom7 chords tuned 4:5:6:7. Very natural to play on the Kite guitar and very easy to translate, except that one of the chords has a hi-3-7 voicing and needs 7 strings.

Sources:

https://www.barbershoptags.com/tag-26-No-More-Wine (barbershop tag, "sell" became "give")

https://www.youtube.com/watch?v=dPJObkkA4Xs (The Greenwoods ,1966)

https://www.youtube.com/watch?v=brzqk9Zksuo (Wanda Jackson 1969)

The song pumps the meantone comma 81/80. I chose to break the comma pump between the I and VI chords. Because the VI chord is major not minor, it has only one common tone with the I chord, the 3rd of the scale. I prefer the shifting 3rd to an offperfect root movement in the VI-II-V-I series of 4thward cadences. Fortunately none of the singers holds the shifting note across both chords. This type of comma pump is very common in barbershop, and this way of resolving the comma issue is usually the best way.

The tenor's P1 is everyone else's P8. The tag can be played note-for-note on the guitar, except that the 3rd to last bass note is on the same string as the baritone's note. The tablature solves this problem with a tapped note. Or one could have the baritone's note disappear briefly and play xx686xx. The passing IIm7 chord for "He's" is unfortunately a bit awkward to play rapidly. This "He's" swipe, along with the bass's "All" flourish and the baritone's "Mine" flourish, can be omitted if the guitar is accompanying a barbershop quartet.

The guitar key is vBb if in high-7 tuning and Gb if in low-7 tuning. The hi-3-5 voicing that requires 7 strings happens to be a 2:3:5:7 voicing. This is a nearly all-odd-numbers voicing, and thus one of the most consonant voicings possible. When played with an open string, it's quite natural for 2 . 1 . 3 . 0 to become 2 . 1 3 3 . 0.

Lyrics vocal parts 7- string

guitar tab

chords
Bass Baritone Lead Tenor
Please Don't Give My P1 P8 P5 vM3 7 - 6 8 8 - - Iv hi-3 add-8
Daddy No More P4 " vM6 vm3 - 9 9 8 6 - - IVv7 close
Wine, No More P1 " P5 vM3 7 - 6 8 8 - - Iv hi-3 add-8
Wine low M6 vA8 M3 v5 2 - 1 - 3 - 0 VIv7 hi-3-7
He May Be No M2 v8 M6 vA4 - 4 - 3 1 5 - IIv7 hi-3
Good, But P5 M9 vM7 v4 - - 6 6 5 3 - Vv7 close
He's M2 v8 M6 " - 4 - 3 1 3 - IIvm7 hi-3
All P5 M9 vM7 " - - 6 6 5 3 - Vv7 close
Mine P1 P5 P8 vM3 7 - 6 8 8 - - Iv hi-3 add-8
All P4 vM6 vm3 - 9 9 8 6 - - IVv7 close
P5 19 - 9 8 6 - - IVv9noR lo-9
P4 - 9 9 8 6 - - IVv7 close
Mine P1 " vM3 7 - 9 8 8 - - Iv6no5 hi-3 add-8
P5 7 - 6 8 8 - - Iv hi-3 add-8

When It's Sleepy Time Down South

Source: https://www.barbershoptags.com/tag-4-Sleepytime-Down-South

The bass and baritone's P8 is the lead and tenor's P1. The "-py" chord has a close vM2 in it, and thus a tapped note. Alternatively, the baritone note could disappear momentarily, making - - 11 13 13 -.

Lyrics vocal parts 6- string

guitar tab

chords chord

homonyms

Bass Baritone Lead Tenor
When P8 P8 P1 P1 - - - 13 - - I5no5 close
It's vM7 vM7 M2 M2 - - - 11 10 - VvnoR close
Slee- vM6 vM6 P1 vM3 - - 14 13 13 - vVI^m close
-py P5 " " " 24 - 14 13 13 - vVI^m7 lo-7 Iv6 lo-5-6
Time A4 " " " - 16 14 13 13 - #IVvdv7 close vII^9noR close
vM2 - 16 14 16 - 0 vII^7 hi-R
Down P4 " " vm3 - 14 14 13 11 - IVv7 close
vm6 vM2 - 14 12 16 - 0 vII^d^7 hi-R bVIIv9noR hi-3
South P1 P5 " vM3 12 - 11 13 13 - Iv hi-3 add-8

Barbershop generally uses mostly harmonic and stacked chords, and rarely uses subharmonic chords. But the first "time" chord is subharmonic, voiced 7/(7:6:5:4). It works here because the voicing makes all the intervals be 5-over or 7-over, and none are 5-under or 7-under. in fact, the harmonic alternative to vdv7 aka ^9noR would be ^d^7 aka v9noR, voiced 5:6:7:9. Comparing the 6 intervals in each tetrad, both have 3/2, 6/5, 7/6 and 7/5. The subharmonic chord has 5/4 and 7/4, and the harmonic chord has 9/7 and 9/5. So in this voicing, the subharmonic chord is actually smoother!

What about other voicings? In a lo-3 voicing, 14/(12:7:5:4) has larger ratios than 3:5:7:9, and thus is inferior to it. But in a hi-3 voicing, 7/(7:5:4:3) is far superior to 5:7:9:12. The math works like this: in 5:6:7:9, to raise a note up an octave, double its number. To lower it, if it's even, halve it. If not, double all the other numbers. Then put the numbers back in ascending order. Thus the hi-R voicing is 5:6:7:9 --> 10:6:7:9 --> 6:7:9:10. But in 7/(7:6:5:4), it's the opposite: lower a note by doubling it, and raise a note by halving it (or doubling the others). To find the ratios, just pair off the 4 numbers into 6 pairs and factor out common factors. The smaller the ratios, the sweeter the chord. One can use this math to choose how to tune the chord, as we are doing here, or one can use it to arrange the tag for maximum vertical consonance, which generally requires an all-odd or nearly all-odd voicing.

The subharmonic chord has an advantage not just vertically (harmonic) but also horizontally (melodic). In the previous chord, the baritone, lead and tenor make an upminor triad in root position. They hold their notes into this chord, and only the bass moves. Using the subharmonic chord lets them keep this same upminor triad, but the harmonic chord would force them into a downminor triad. The lead would have to fall by a full fret, or the bari and tenor would rise by a full fret, or the lead would fall by a half-fret with the others rising by a half-fret. The first two options would sound very jarring. The final option would spoil the simplicity of the steady post. Thus the first "time" chord must be subharmonic.

The second "time" chord is also subharmonic, but the advantage over the harmonic one is far less: 14/(14:12:10:9) vs. 5:6:7:8. Four of the ratios are the same, and 10/9 and 14/9 would become 8/7 and 8/5. Again, -over intervals would become -under, but the integer limit of both ratios would decrease. Furthermore, a wider 2nd is generally more consonant than a narrow one. And 14/9 is a little too close to 3/2 to be very consonant. The 3rd harmonic of the bass's voice is only ~60¢ away from the 2nd harmonic of the tenor's voice. All in all, the harmonic chord is more consonant, despite its -under intervals.

I chose to use the subharmonic chord for melodic simplicity. It allows the baritone, lead and tenor to be rock-steady during their posts. The harmonic dissonance can be lessened by not holding the chord as long. Aaron Wolf has proposed using the more consonant harmonic chord, with vII^7 becoming ^IIv7. He has the baritone move upwards by a full fret from the previous chord, from vM6 to ^M6. However it makes a less coherent scale, as the scale degrees are no longer plain or downward, but now also upward. Thus the tag gains vertical consonance but loses horizontal consonance. Since barbershop seems to prioritize the former over the latter, barbershoppers would probably prefer this version. Changes are bolded.

Lyrics vocal parts 6- string

guitar tab

chords chord

homonyms

Bass Baritone Lead Tenor
When P8 P8 P1 P1 - - - 13 - - I5no5 close
It's vM7 vM7 M2 M2 - - - 11 10 - VvnoR close
Slee- vM6 vM6 P1 vM3 - - 14 13 13 - vVI^m close
-py P5 " " " 24 - 14 13 13 - vVI^m7 lo-7 Iv6 lo-5-6
Time A4 " " " - 16 14 13 13 - #IVvdv7 close vII^9noR close
^M6 ^M2 - 16 15 17 - 0 ^IIv7 hi-R
Down P4 vM6 " vm3 - 14 14 13 11 - IVv7 close
vm6 vM2 - 14 12 16 - 0 vII^d^7 hi-R bVIIv9noR hi-3
South P1 P5 " vM3 12 - 11 13 13 - Iv hi-3 add-8

Way Down South

Source: https://www.barbershoptags.com/tag-10-Way-Down-South

The bass and baritone's P8 is the lead and tenor's P1. The opening two chords make a Biruyo comma warp. The interval between the top two voices is warped from 10/7 to 7/5. The Buruyo comma is only half a fret, so only one voice need adjust. I chose to have the lead be the one to adjust, because rising seemed more apt than falling, and because the tenor seemed more prominent. Also, the tenor would have to shift to a ~6, way out of key. The lead's vA2 note in the "down" chord is enharmonically equivalent to a m3. The very open voicings of the final three chords require 7 strings.

Lyrics vocal parts 7-string

guitar tab

chords chord

homonyms

Bass Baritone Lead Tenor
Way P4 P8 vm3 vM6 - 5 - 4 2 6 - IVv7 hi-3
Down A4 M7 vA2 vM6 - 7 9 9 - 6 - VIIv7 lo-5
South







P8 vM10 P5 P8







- - - 4 4 3 5 Iv close add-8
vm7 - - - 0 4 3 5 Iv7 hi-R lo-7
vM6 vM9 P4 - - 5 7 6 - 5 vII^m7 lo-5 IVv6 lo-36
^m6 ^m10 d5 - - 4 - 3 1 5 ^bVIv7 hi-3
P5 vM10 P5 - - 2 - 4 3 5 Iv hi-R lo-5 add-5
P4 vM9 vM6 - 5 - 7 - 6 5 vII^m7 lo-3 IVv6 hi-35
vM3 P8 P5 - 3 - 4 - 3 5 Iv lo-3 add-8
^m3 ^m7 - 2 - 1 - 3 5 ^bIIIv6 hi-3-6 (I^m7) (lo-37 hi-R)
^M2 ^M6 A4 7 - 6 - 8 - 5 ^IIv7 hi-3-7
^m2 ^m6 P4 5 - 4 - 6 - 5 ^bIIvM7 hi-3-7
P1 P5 vM3 3 - 2 - 4 - 5 Iv hi-3 add-hi-8

Smile

source: https://www.barbershoptags.com/tag-1-Smile

The bass's P8 is every one else's P1. The baritone starts below the lead and ends above the tenor.

Lyrics vocal parts 8-string

guitar tab

chords chord

homonyms

Bass Baritone Lead Tenor
A P5 ------- ------ ------ - 7 - - - - - - ------ ------
Smile P8 vM3



^m3

P5



^m6

P8





- - 9 9 8 10 - - Iv add-8
Is vM7 - - 7 9 8 10 - - IvM7 hi-R lo-7
Still vM6 - 10 - 9 8 10 - - Iv6 hi-R lo-6 vVI^m7 hi-3
Worth- P5 - 7 - 9 8 10 - - Iv hi-R lo-5 add-5
while ^m6 - 9 - 8 10 10 - - ^bVIv hi-3 add-8
Darn P4 vM2 vm6 10 - 12 - 9 10 - - IVvm6 hi-35 bVIIv9noR lo-5
Ya P11 vM9 " - - - 11 9 10 - 0 " close " hi-3
Smile P8 vM10 P5 - - 9 - 8 10 10 - Iv hi-3 add-8

The only chords without an obvious tuning are the ones on "darn ya". See the discussion in "When It's Sleepy Time Down South" about harmonic vs. subharmonic chords. The harmonic IVvm6 chord could be a subharmonic IV^m6. Analyzing the ratios in the "darn" chord, 5/3 would become 12/7 and 7/3 would become 12/5, both worse. But 9/5 would become 7/4 and 9/7 would become 5/4, both better. In the "ya" chord, again 5/3 would become 12/7, worse. But 9/7 would become 5/4, 7/6 would become 6/5, and 10/9 would become 8/7, all three better.

I chose somewhat arbitrarily to make the IV chord be harmonic. I liked the resulting microtonal lead melody. It would be possible to have a harmonic "darn" chord and a subharmonic "ya" chord, but that would make an awkward lead melody. To make both chords subharmonic, just change v to ^. But the use of the open string means the key must change.

Lyrics vocal parts 8-string

guitar tab

chords chord

homonyms

Bass Baritone Lead Tenor
A P5 ------- ------ ------ - 6 - - - - - - ------ ------
Smile P8 vM3



^m3

P5



^m6

P8





- - 8 8 7 9 - - Iv add-8
Is vM7 - - 6 8 7 9 - - IvM7 hi-R lo-7
Still vM6 - 9 - 8 7 9 - - Iv6 hi-R lo-6 vVI^m7 hi-3
Worth- P5 - 6 - 8 7 9 - - Iv hi-R lo-5 add-5
while ^m6 - 8 - 7 9 9 - - ^bVIv hi-3 add-8
Darn P4 ^M2 ^m6 9 - 12 - 9 9 - - IV^m6 hi-35 bVII^9noR lo-5
Ya P11 ^M9 " - - - 10 9 9 - 0 " close " hi-3
Smile P8 vM10 P5 - - 8 - 7 9 9 - Iv hi-3 add-8

How do barbershoppers sing this tag in practice? In the source material's recording, the lead does not shift microtonally, and uses their "while" note for "darn ya". But the baritone is singing a plain 2nd and 9th, not an up 2nd/9th. So who knows?

Whisper Words of Wisdom (Let It Be by the Beatles)

My just intonation arrangement of the last line of the chorus of "Let It Be" as a barbershop tag, translated to 41edo. I tried to give each of the 4 lines a fun easy melody. The 2nd to last chord is a dissonant upmajor triad, the "rub" that drives the cadence.

The P8 of the bass and baritone is the P1 of the lead and tenor. For 6-string and 7-string guitar, in A downmajor. The 7-string would be in high-7 tuning. The guitar duplicates the voices exactly. This arrangement omits the lead's suspension (M2 to P1) on "Be" because it doesn't work well on the guitar.

Lyrics vocal parts guitar tab chords chord homonyms
Bass Baritone Lead Tenor 7-string 6-string
Whisper P5 P8 vM3 vm7 - - 5 7 7 - 4 18 20 20 - 17 - Iv7 lo-5
Words " m9 v4 " - - 5 - 2 2 4 18 - 15 15 17 - Vvdv7 hi-3 vbVII^m6 hi-R lo-6
Of " P8 vM3 vM6 - - 5 7 7 9 - 18 20 20 22 - - Iv6 lo-5
Wis- " vM7 " P5 - - 5 5 7 6 - 18 18 20 19 - - vIII^m hi-R add-10 Vv6no5 close add-8
dom " " M2 v4 - - 5 5 4 2 - 18 18 17 15 - - Vv7 close
Let " vm7 vM3 P5 - - 5 3 7 6 - - - 5 3 7 6 Vvm6no5 close add-8 Iv7noR lo-5-7 add-5
It " " M2 v4 - - 5 3 4 2 - - - 5 3 4 2 Vvm7 close
Be- P4 vM6 P1 vm3 - 8 8 7 5 - - - 8 8 7 5 - IVv7 close
-e- vm3 vm6 " " - 4 6 7 5 - - - 4 6 7 5 - vbVI^ lo-5 add-5 IVvm7noR lo-7 add-7
-e P1 P5 " vM3 6 - 5 7 7 - - 6 - 5 7 7 - Iv hi-3 add-8

World Music, Microtonal Music, etc.

Kusuva Musha (traditional mbira)

My 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:

   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  13 -  -  10| -  -  13 -  -  - | -  -  13 -  -  13 
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  13 - | -  11 -  -  13 -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
 
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  10 -  -  - | -  -  -  -  -  - | -  -  10 -  -  -   
   -  -  13 -  -  - | -  -  -  -  -  13| -  -  10 -  10 - | -  -  -  -  -  10  
   -  -  -  -  13 - | -  13 -  -  13 - | -  -  -  -  -  - | -  13 -  -  11 -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
 
 / Cv    vE^m         vA^m        Cv           Fv           vA^m        vD^m
|  -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
|  -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
|  12 -  -  10 -  - | 12 -  -  -  -  - | 12 -  -  12 -  - | 12 -  -  -  -  -   
|  -  -  10 -  10 - | -  -  13 -  -  10| -  -  13 -  -  - | -  -  13 -  -  13  
|  -  -  -  -  -  - | -  11 -  -  11 - | -  -  -  -  13 - | -  11 -  -  13 -   
|  -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
 \
         Fv           vB5(^b5)    vD^m         Gvno5        vB5(^b5)    Cv   \
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -  | 
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -  |
   15 -  -  12 -  - | 10 -  10 -  -  - | 15 -  -  10 -  - | 10 -  10 -  -  -  | 
   -  -  13 -  -  - | -  -  -  -  -  13| -  -  10 -  10 - | -  -  -  -  -  10 |
   -  -  -  -  13 - | -  13 -  -  13 - | -  -  -  -  -  - | -  13 -  -  11 -  | 
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -  |
                                                                             /

Tablature in C (or F) for 4-string bass guitar, tuned one octave below strings 3-6 of the guitar:

                                                  F         vA       F
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | 13 -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  13 -  - | -  -  -  13 -  -  
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
 
   vA       F         vB       F         vA       G         vB       G       
   -  -  -  -  -  - | 10 -  -  -  -  - | -  -  -  -  -  - | 10 -  -  -  -  -  
   13 -  -  -  -  - | -  -  -  -  -  - | 13 -  -  10 -  - | -  -  -  10 -  -   
   -  -  -  13 -  - | -  -  -  13 -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
 
 / C        vE        vA       G         C        F         vA       F
|  12 -  -  -  -  - | -  -  -  -  -  - | 12 -  -  -  -  - | -  -  -  -  -  -   
|  -  -  -  -  -  - | 13 -  -  10 -  - | -  -  -  -  -  - | 13 -  -  -  -  -   
|  -  -  -  11 -  - | -  -  -  -  -  - | -  -  -  13 -  - | -  -  -  13 -  -  
|  -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
 \
   vA       F         vB       F         vA       G         vB       G       \
   -  -  -  -  -  - | 10 -  -  -  -  - | -  -  -  -  -  - | 10 -  -  -  -  -  | 
   13 -  -  -  -  - | -  -  -  -  -  - | 13 -  -  10 -  - | -  -  -  10 -  -  | 
   -  -  -  13 -  - | -  -  -  13 -  - | -  -  -  -  -  - | -  -  -  -  -  -  | 
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -  | 
                                                                             /

Tablature in E (or A) for 6-string guitar, combining both parts:

   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  7  -  -  4 | -  -  7  -  -  - | -  -  7  -  -  7   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  7  - | -  5  -  -  7  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
  
   -  -  -  -  -  - | -  -  4  -  -  - | -  -  -  -  -  - | -  -  4  -  -  -  
   -  -  7  -  -  - | -  -  -  -  -  7 | -  -  4  -  4  - | -  -  -  -  -  4  
   -  -  -  -  7  - | -  7  -  -  7  - | -  -  -  -  -  - | -  7  -  -  5  -  
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -  
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   

   6  -  -  4  -  - | 6  -  -  -  -  - | 6  -  -  6  -  - | 6  -  -  -  -  -   
   -  -  4  -  4  - | -  -  7  -  -  4 | -  -  7  -  -  - | -  -  7  -  -  7   
   -  -  -  -  -  - | -  5  -  -  5  - | -  -  -  -  7  - | -  5  -  -  7  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  -  -  - | 6  -  -  -  -  -  
   -  -  -  -  -  - | -  -  -  -  -  - | -  -  -  6  -  - | -  -  -  6  -  -    
 
  
   9  -  -  6  -  - | 4  -  4  -  -  - | 9  -  -  4  -  - | 4  -  4  -  -  -  
   -  -  7  -  -  - | -  -  -  -  -  7 | -  -  4  -  4  - | -  -  -  -  -  4  
   -  -  -  -  7  - | -  7  -  -  7  - | -  -  -  -  -  - | -  7  -  -  5  -  
   -  -  -  -  -  - | 3  -  -  -  -  - | -  -  -  -  -  - | 3  -  -  -  -  -   
   6  -  -  -  -  - | -  -  -  -  -  - | 6  -  -  3  -  - | -  -  -  3  -  -  
   -  -  -  6  -  - | -  -  -  6  -  - | -  -  -  -  -  - | -  -  -  -  -  -   
 
 / Iv    vIII^m       vVI^m       Iv           IVv          vVI^m       vII^m
|  6  -  -  4  -  - | 6  -  -  -  -  - | 6  -  -  6  -  - | 6  -  -  -  -  -   
|  -  -  4  -  4  - | -  -  7  -  -  4 | -  -  7  -  -  - | -  -  7  -  -  7   
|  -  -  -  -  -  - | -  5  -  -  5  - | -  -  -  -  7  - | -  5  -  -  7  -   
|  5  -  -  -  -  - | -  -  -  -  -  - | 5  -  -  -  -  - | -  -  -  -  -  -   
|  -  -  -  -  -  - | 6  -  -  3  -  - | -  -  -  -  -  - | 6  -  -  -  -  -  
|  -  -  -  4  -  - | -  -  -  -  -  - | -  -  -  6  -  - | -  -  -  6  -  -    
 \
         IVv           vVII5(^b5) vD^m         Vvno1        vVII5(^b5)  Iv   \
   9  -  -  6  -  - | 4  -  4  -  -  - | 9  -  -  4  -  - | 4  -  4  -  -  -  |
   -  -  7  -  -  - | -  -  -  -  -  7 | -  -  4  -  4  - | -  -  -  -  -  4  |
   -  -  -  -  7  - | -  7  -  -  7  - | -  -  -  -  -  - | -  7  -  -  5  -  |
   -  -  -  -  -  - | 3  -  -  -  -  - | -  -  -  -  -  - | 3  -  -  -  -  -  | 
   6  -  -  -  -  - | -  -  -  -  -  - | 6  -  -  3  -  - | -  -  -  3  -  -  |
   -  -  -  6  -  - | -  -  -  6  -  - | -  -  -  -  -  - | -  -  -  -  -  -  | 
                                                                             /


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 Triyo (Porcupine) 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 instead equals ^^Eb, and a pitch shift is inevitable. In this translation, the tied note in the 2nd measure (and the 6th measure) shifts downward a half-fret. But the 4th chord passes by so quickly, the shift is hardly noticeable.

Mizarian Porcupine Overture.png

Tab in vEb downmajor for three 6-string guitars. The rhythym guitar plays the bass clef of the score note-for-note. The lead guitars play the treble clefs note-for-note. The leads are written out in absolute tab as string, dot, fret. The tonic is (4,5,3) = 4th string, 5th dot 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


Stupid F*cking White Man (Decolonize Your Mind Society, microtonal)

https://decolonizeyourmind.bandcamp.com/releases

https://soundcloud.com/decolonizeyourmind/stupid-fucking-white-man-live

Opening riff in ^F downminor pentatonic for 7-string in low-7 tuning:

| - - - - 4 - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - 6 - - - - 6 | - - - - - - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - - - 5 - - - | - - - - - - - - | - - - - - - - - |
| - - - - - - - - | - - 7 - - - - 7 | - - - - 3 - - - | - - - - - - 7 - |
| - - - - - - - - | - - - - - - - - | - - 5 - - - - 5 | - - 5 - - - - - |
| - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - 4 - - - |
| 6 - - - 6 - - - | 6 - - - 6 - - - | 6 - - - 6 - - - | 6 - - - - - - - |