Originals by Kite Giedraitis for The Kite Guitar

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


Underground Revolution

Key: ^Bb downminor pentatonic

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

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

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

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

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


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

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

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


I Hear Numbers

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

Full song: http://tallkite.com/music/IHearNumbers.mp3

Keyboard part with a guitar sound: http://tallkite.com/music/IHearNumbersKeyboardOnGuitar.mp3

Liner notes: http://tallkite.com/music/IHearNumbers.html

Chords:

intro:      Vv7        vIII^m7(b5)  Vv7         vIII^m7(b5) 
            Vv7        vIII^m7(b5)  Vv7            / 

solos:      Iv7        vbIII^m6     IVv7           /
            Iv7        vbIII^m6     IVv7           /
            bVIIv7     bVIIv7no1    vbIII^m6       /
            vbVI^      vbVI^7       Vv7            /   

verse 1:    Iv7        vbVII^m6     Iv7         vbVII^m6
            Iv7        vbVII^m6     Iv7         vbVII^m6
            Iv7        vbVII^m6     Iv7         vbVII^m6
            Iv7        vbVII^m6     Iv7            /

chorus:     vVI^m7        /         vVII^m6(b5)    /
             /            /         vVI^m7         /
             /            /         vVII^m6(b5)    /
            vVI^7      vVI^m6(b5)   Vv7            /

breakdown:  Iv7        vbVII^m6     bVv7        [vbbVII=^#V]^m6
            ^#IIv7     #IV^m6       ^VIv7        Vv7

verse 2:    Iv7        vbVII^m6     Iv7         vbVII^m6
            Iv7        vbVII^m6     Iv7         IIv7

bridge:     Vv7        Vvm7(b5)     IIv7           /
             /         IIvm7(b5)    Vv7         VIvm7
            IIIv7      IIIvm7(b5)   VIv7,b9     VIv6
             /         VIvm7(b5)    IIv7        Vv7

coda:       Iv7           /         vbVII^m7       /
            vbIII^7       /         Vv7            /

Guitar tab in ^C for a 6-string guitar. ^C is 5th string, 1st dot plus 1 fret, written as (5,1,1). 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:
(5,5,0) (6,4,2) (5,5,0) (5,4,1)
(4,4,1) (5,3,1) (4,4,1) (5,4,3) etc.

The bridge has this bass line:
(5,4,1) (6,3,3) (5,4,1) (5,3,1)
(6,3,3) (4,3,2) (6,3,3) (5,3,3)
(6,3,3) (4,3,2) (6,3,3) (5,3,1)
(5,4,1) (6,3,3) (4,3,2) (4,3,2)
(5,3,0) (6,2,2) (5,3,0) (5,2,0) 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)


Triadic Etude

Crappy midi demo in vA: https://soundcloud.com/mbirakite/triadic-etude

Key: A downminor

    vbVI^             Ivm               vbVI^             Ivm 
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
  | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - | - - 5 - - - 5 - |
  | - 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 - - - - - |
  | - 7 - 7 - 7 - 7 | - 7 - 7 - 7 - - | - 7 - 7 - 7 - 7 | - 7 - 7 - - - - |
  | 6 - - - 6 - - - | 5 - - - - - - 5 | 6 - - - 6 - - - | 5 - - - - - - - |
  | - - - - - - - - | - - - - - - - - | - - - - - - - - | - - - - - - - - |
  | - - - - - - - - | - - - - 6 - - - | - - - - - - - - | - - - - 6 - - - |

Chords:

vF^     Avm     vF^     Avm

Dvm     Gv      Dv7      /

Dvm     Gv      Av      Avdim

vG^     vG^m    Evdim   vC^9

vF^     Avm     vF^     Avm


Blues in G

Loosely based on Lance Vallis' solo guitar piece in G

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

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

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

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

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

2nd riff 1x

1st riff 2x


The Relative Song

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

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

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

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

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

Chords:

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

^Bbv7   ^Ebv7   (3x)

^D^7    ^Gv7


The Tri-sub song

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

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

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


The Walking Song

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

  Iv7     IVv7    vbIII^m7    ^^Vv7

^^Iv7    ~IVv7    ^bIII^m7     #Vv7

 #Iv7    #IVv7     vIII^m7   ^^#Vv7

  etc.

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

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

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


II-V-I riff in A downmajor

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

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


V7 - I7 riff

A nice demo of the two kinds of dom7 chords.

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


Im7 - V7 riff

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

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

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


Fun riff

Another one I wrote early on.

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

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


Mid-9th riff

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

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

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

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

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

 etc.


James Bond 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 _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _ | _ _ _ _ _ _ _ _


Chromatic riff

This came out of an exercise I made up -- write chords under a melody that moves up and down chromatically.

x2443x -- ^^Ebv

3x244x -- ^Gv7

x4665x -- vFv

x5446x -- ^C^m

x244x1 -- ^^Ebv7

5x426x -- ^^Abv7

x0235x -- ^D^6

3x244x -- ^Gv