Talk:Kite Guitar Translations by Kite Giedraitis

Note to self: Possible future translations

Do You - Spoon (splits a M2 into 3, instead of 2)
Make Me Feel - Janelle Monáe (splits a M2 into 4, instead of 2)
see Stephen W's video https://www.youtube.com/watch?v=1bwl1fiGqJA TallKite (talk) 08:07, 28 May 2020 (UTC)

Monospaced Font for Guitar Tabs

To get a monospaced font, enclose your text in these tags: < tt > and < /tt > (but without the spaces). Inside the tags, every line MUST start with a space, even empty lines. TallKite (talk) 07:22, 22 February 2020 (UTC)

This is not quite correct, you can use indentation by one space for each line of a code box (including empty lines), or enclosing the whole code block with pre tags. the tt tag and the code tag are both used for inline code sections. Maybe this should be explained a bit more on some help page.
Best regards --Xenwolf (talk) 16:04, 13 May 2020 (UTC)

Thanks!TallKite (talk)

Greensleeves

I don't think there needs to be any IVm at all. There are many variations of the song, including ones with half the chords, just going Im - bVII - bVI - V without the second variations on each. But to include the very nice more-complex chord progression, I still find it better to use Im - bIII - bVII - Vm - Im - bVI - V / for the opening, no IVm. I don't mind the IVm as a version, but it doesn't translate as well, and I don't find it as satisfying or traditional. If we drop the IVm, I think everything will go smoother. --Wolftune (talk) 21:20, 27 December 2019 (UTC)

Updated thoughts:

The simpler 4-chord progression avoids most issues. Some of the variations come from commas being tempered out. The embellishments get complex.

One 4-chord variation I like: I^m - V^m - ^bVIv - Vv. But the ^bVIIv that could be used as a variation to V^m, I only find it smooth when arriving to it from the ^bIII variation in the 1st quarter of the phrase. In other words, I^m / - ^bVIIv sounds weird, whereas either of: I^m - ^bIII - ^bVIIv - V^m or maybe swap the last two for I^m - ^bIII - V^m - ^bVIIv. By contrast, the I^m - (plain) bVIIv - ^bVIv - Vv sounds good too. But that doesn't blend well with V^m as a variation to the bVIIv. A surprising variation sounds okay to me: I^m - ^bIIIv - bVIIv - vV^m - ^bVIv - I^m - Vv / — except the plain bVIIv sounds weird to me after some time playing with the ^bVII and V^m (even though earlier the plain bVIIv sounded fine).

Also, I didn't like the Vv,^7 initially at all. I preferred either a regular Vv7 (perhaps with high-3 to avoid the prominence of the 7) or the more traditional Vv with no 7. There's no need for the 7 in that it's not part of the melody.

As I was even typing this updated comment, my mind shifted. I can see how even though it seems less traditional, the IV^m works when it is clearly a variation off of ^bVIIv. And the Vv,^7 started sounding okay enough when I was getting used to ^bVIIv instead of plain bVIIv. So, several variations can work, but not in any combination.

I do think a beginners' version without all the variations of chords would be worth doing as it could focus on inversions and melody incorporation to make the whole arrangement work nicely. The simple I^m - bVIIv - ^bVIv - Vv is trivially easy and the melody variations around that are pretty doable. --Wolftune (talk) 22:01, 27 December 2019 (UTC)

UPDATE: After playing more, I'm convinced that the whole thing works smoothly enough, with or without all the embellishments, including even the IV^m. The chords in total are clearer when written as though the song were in the relative major, the full list is: Iv, vII^m, vIII^m, vIIIv, IVv, Vv, vVI^m — super straightforward. The full order for the first half using that reference is: vVI^m - Iv - Vv - vIII^m - IVv - vII^m - vIIIv

also, I can play functional version with inversions and melody interwoven with chords and it works fine on 6-strings without lots of challenges. --Wolftune (talk) 22:32, 28 December 2019 (UTC)

Note to self: Dear Ruby by Thelonious Monk

Note to self for a possible future translation: I got the Ruby chords from ultimate guitar and translated them to 41edo. I didn't study the song, barely listened to it. So this is not an in-depth translation, just a rough draft of sorts. Just looked at the lattice and avoided pitch shifts on common tones. It went well. I stuck to 5-limit, except for the dom7 and dim7 chords. No glaring weirdnesses.

I didn't analyze the melody. If the melody plays a sustained 9th above a v6 chord, I would probably drop the 5th from the chord and tune the 9th as a v9.

The ^Ab^d7 chord after the 1st line of the verse makes an uneven root movement. Maybe better as vAb^d7. I was trying to keep the 7th of the previous chord the same as the 6th of this chord. But maybe not worth doing, since the pitch shift would be 2\41 not 1\41.

2nd line, Dbd7 followed by Bbd7 is weird because they're the same chord in 12edo! They're different chords in 41. So unless you just hold the same chord, you have pitch shifts. I would have to know the song better to do a good translation there. The ^d7(~5) chords may be too dissonant and may need to be regular ^d7 chords. The ~5 avoids a pitch shift of 2\41, which may be fine, since it's not 1\41.

In the outro, after the first line we have IVM7 followed by Vm7, a meantone pitch shift. One shift in the whole song, not bad. Easily hideable by voicing the root of the IV chord low and the 7th of the V chord high, as one would normally do anyway.

Since writing this, I'm told these are not the correct chords for the tune, oh well...

[Intro]

Bbv6 ^Dbv6 ^Db^d7 ^Abv6

F^m9 ^Ev7vv#9/^B Bb^d7(~5) B^d7

[Verse]

F^m9 B^d7 ^Ab^d7 ^EbvM7
Ruby, My Dear

F^m7 Gb^m7 vG^m7 ^Abv6 vAv6 Bbv6

vG^m9 vG^d7/^Db (was Dbd7) Bbvd7 FvM7
Hold back that tear

vG^m7 Ab^m7 vA^m7

Bb^m7 Bb^d7 vG^d7(~5) AbvM7
I know he's gone

Bb^m7 vB^m7 vC^m7

vC^m7 Bb^m7
Your love has flown

Av,9 E7sus4no5 B^d7
You're all alone

[Bridge]

^AvM7 B^m7 B^d7
One day he came to you

F#^m7 ^Av6
And made the music play

Bbv6 B^d7
In his way

Ebv6 Ebva Ebv/vC
You said you'd rather die

vD^m7 Eb^m7 A^d7 Ebva
Than say goodbye

[Outro]

F^m9 B^d7 Ab^d7(~5) EbvM7
But there'll come a day

F^m7 Gb^m7 vG^m7 ^Abv6 Av6 Bbv6

vG^m9 vG^d7/^Db (was Dbd7) Bbvd7 FvM7
Though he's away

vG^m7 Ab^m7 vA^m7

Bb^m7 Bb^d7 vG^d7(~5) AbvM7
You'll sing his song

Bb^m7 vB^m7 vC^m7

vC^m7 Bb^m7
You'll carry on

Av,9 E7sus4no5 Av6
Ruby, My Dear

TallKite (talk) 09:30, 22 November 2020 (UTC)