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A lot more. There are too many times when I can't enter the chord that appears in fake books. If memory serves, major 7 with a 9
is not currently possible. There are others, but I can't think of them now. It shouldn't be too hard for find out just ask Peter's brother. These omissions seem odd considering you have a jazzer in the family so to speak. Thanks for listening.

Ron

Sometimes the requests for new chord types do identify missing types. Other times, it's a question of learning how BIAB spells a chord. Maj9 has always been supported. Ron, I suggest you go ahead and give specific examples, and we can help identify which of the two situations each chord falls into.

For example, I would like support for Maj7(#11). Currently, we have to enter Maj9(#11).

Just look in BIAB help and type in "chord list" to give you all the chords BIAB presently supports. Later, Ray.

Yes, that's a great way to see all supported chord types along with tips, such as how to deal with ambiguous chord spellings (ex. C5b).

Or, right-click in the Chordsheet [or, Edit, Chord Settings], select 'Chord Builder', and use the 'Other' pulldown to see all supported chord types.

Quote:

Yes, that's a great way to see all supported chord types along with tips, such as how to deal with ambiguous chord spellings (ex. C5b).

And the reason for the strange notation is so that BIAB knows what you mean.

If you entered Eb5, did you mean a "E chord with flatted fifth" or did you mean an "E-flat 5 chord (or a power chord, if you wish)"? So the 5b construct will always mean you want to take the 5 and flat it, and just the 5 after the chord name means to play the power chord. As best I can tell, it's just a workaround that allows you to enter chords more easily, without the program having to ask you everytime "what did you mean here?"

So, Eb5 means to play the E-flat power chord and E5b means to play an E chord with a flatted fifth.

I suppose that's clear as mud now.

What we need now is piano backing playing quartal chords! Later, Ray

And Maj 9 is possible of course...

What would also be good is if BIAB actually played supported chords as written.
Extended dominants like 7b9#11b13 are theoretically possible but in practice only really played by dropping one or other of the extensions. What you miss there is not so much functional as colouristic..the extra tension sound of more than one semitone in a chord occurring simultaneously.

Regards

Alan

Wow just typing 7b9#11b13 made me need a Valium . Maj7 , aaah now that's all better now! Whew that was close !
I agree with Ray about Quartal (constructed from 4ths)and Quintal chords (constructed from 5ths) too would be a nice touch.

@Tommyc

. I have some sympathy with that. But these chords are in the list. Why? Presumably because they offer something to modern jazzers like me. If you've ever seen a lead sheet for a tune by sax player David Liebman or his partner in crime pianist Richie Beirach you'll know that 7b9#11b13 is just the tip of the iceberg!!

Regards

Alan

When the chords get that exotic, I put down the music and just listen until I have the sound in my head!

Tommy, Have you ever heard of upper structure triads? They are really useful for remembering these chords - for example 7b9#11b13 can be thought of as (in C) as C7 with a d major triad on top.

Usually the are all major triads you can build on ....

Dominant:

When using dominant chords build on …
2nd = C13 #11
b3rd = C7#9
b5 = C7b9 #11 (or flat 5)
Built on the sixth C13b9
Built on flat 6th = C7#9b13+

Major 7th chords
Build on 2nd = C9#4 (with 6th) can be used for sixth chords.
Can be built on the 5th gives a 9th chord

I find this very useful as it builds exotic chords on what your muscle memory already knows

Minor chords

Built on minor 7th gives a C79/11
Build a minor triad built on 2 gives the above chord with a 6th)

That was supposed to be humor, guess I should have added lol 9 months ago!

In my last song I used a C13b9 chord and it was a perfect fit following a EbMaj9. You can hear it in the user forums in the song titled Smoothang. Hope you have the time to listen ZeroZero!

Will do

Hi Ron,

Most of the Fakebook Chords are wrong or unneccesary to begin with .... or the top voice of the chord dosent go with the melody note. Personally I like to see lead sheets with triads or seventh chords so I can embellish how I see fit......

When a chord is written like say C7 #5 #9 that limits a lot of players to just one way of improvising over it when there are many options......My 2 cents of course.........

BBB

I'd go along with that view as there's many different ways you can harmonize the same note. Secondary dominants are probably voiced a specific way they are for smooth voice leading to the next chord. What matters are the strong cadence points in a tune. How you get there harmonically is a matter of personal taste, whether that's a desire for adventure or to stick close to the underlying key. Potentially every note is its own tonic, or at least the note that a phrase resolves to.
Ornette Coleman was once asked by a sideman what were the changes to one of his tunes and he responded by writing chords under every melody note. The chords were all the same as the notes.. no qualities as such just tonal centres.!!

Best regards

Alan