other types of chords the program won't accept

I wanted to add chords like Cadd5,Cadd4. How do you add chords the program will not accept?

thanks,
John

Quote:

I wanted to add chords like Cadd5,Cadd4. How do you add chords the program will not accept?

thanks,
John

Well simply put, you cannot add chords the program will not accept.

What exactly do you want with a Cadd5? a Power Chord of C and G with no 3rd? Lots of talk here recently about voicing. I don't believe BIAB will voice a Power Chord short of you entering the midi notes and freezing the track.

And the CAdd4, are you looking for a Csus, C F, and G. This is possible. I guess I should open BAIB and look in the menu items for all avialable chords. Go to the help menu - topics - chord list, and you will see the dozens and dozens of allowable chords.

Let see what other say on this.

Hi John - just to add to jazzmandan, and just to be unbelievably unambiguous, how about exactly spelling out the chords of interest? Like "Cadd5 (C G)". There are different ways various chords are notated in the world, and spelling them out clears up any confusion, and then you'll get some good answers.

John,

I don't know a chord called Cadd5 nor Cadd4. As Kelso has suggested, please let us know what notes your want to play in the chord.

Regards,
Noel

C5 for Cadd5 and Csus for Cadd4? Worth a try

Actually I wanted a C with a high G, my teach calls it a cadd5. I know g is in the chord of C, but the high G voicing makes it really sound nice.

John

The cadd4 replaced the e with the f note. In my playing I switch frequently between c, c2, cadd5, cadd4, cmaj7. These variations on the C chord sound really nice in a strum. I am trying to stretch the program to its limits.

I best I have been able to accomplish and sound ok is a C C2,C where in the second measure I have to chords instead of one. I guess I want it all!

Sorry to be a pain,
John

Quote:

The cadd4 replaced the e with the f note. In my playing I switch frequently between c, c2, cadd5, cadd4, cmaj7. These variations on the C chord sound really nice in a strum. I am trying to stretch the program to its limits.

I best I have been able to accomplish and sound ok is a C C2,C where in the second measure I have to chords instead of one. I guess I want it all!

Sorry to be a pain,
John

John,

1-You are not a pain. You just have been taught different chord names than we are used to.

2-You can have it all. Your Cadd5 is our C5. It is also called a power chord but that is an other point of contention with me as chords need at least three notes while a so called power chord has only two. Your Cadd4 is our Csus.

I hope this helps.

His Cadd4 would be the Csus or Csus4 chord, same thing.

However, his Cadd5 would NOT be a C5 powerchprd. His guitar teacher is using this term to describe a particular inversion on the C, E, G stack of the Major chord. Most likely in first position on the neck, X,3,2,0,1,3 where that last 3 is the G on top. I do not know a way to force that particular voicing such that it would happen every time using a chord symbol entry in Band in a Box. This is because the particular Style file or Realtrack has a lot to do with the selected chord voicings.

"Cadd5" is technically not correct nomenclature for the type of chord described. There isn't a chord nomenclature in Fake Chording that would really describe this, so his teacher is likely simply using the Cadd5 for that reason, to describe for the student this above mentioned chord voicing.

--Mac

I had a feeling it might mean adding another G at the top end as a C chord must have a G in it anyway or it is no longer a C chord. Therefore Cadd5 would have two Gs in it not one and the additional one would be the top note (an octave higher than the real G)...

The G is the highest note in a C chord in a pure 3 note standard form in any case so I would personally find this second G to be superfluous (mind you, I play Country/Folk where the rule is KISS). OTOH, on a guitar an Open C chord would have E on the top, followed by C, followed by G. The strictest purest form would be to mute the top two strings and the bottom string and play only the 3rd, 4th and 5th strings - CEG.

So, is this Cadd5 actually a full Open C with G on the top string? I think so. It sounds logical to me but then to go to that amount of trouble with the left hand would imply a full six string strum with the right hand and therefore it should really be Cadd5/E (032013) or Cadd5/G (332013). But all of this is really hypothetical BS - (a)the chord does not officially exist and (b)a full Cadd5 would be physically impossible to finger on one hand on a standard size piano, I should imagine, and hence unlikely to ever appear in a book of chords as most chord nomenclature is focused on piano voicings.

In its simplest form I would plump for the C5 to emphasis_ the G by removing the E.

Ergo => for Cadd5 read C5

If you enter C5, you only get a chord composed of two notes, C and G. No third (E).

--Mac

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In its simplest form I would plump for the C5 to emphasis_ the G by removing the E.

Ergo => for Cadd5 read C5

Mac, that is what I said

It is what you said, so I was not addressing you or that.

I think that using the C5 with no third will not likely result in the sound that the guitar teacher is after.

The first position C chord with the G on top has an open, "airy" sound to it.

The C5, on the other hand, is the Rock Power Chord...

--Mac

Yes Mac you are right. I was wrong in calling it a C5 chord as I did not catch John’s note stating it was a C chord with a high G note. The confusion, at least to me, is that there is no such a chord as a Cadd5. C-E-G make C chord regardless of the positions of the notes and/or the number of octaves of the notes. A simple guitar chord-fingering chart would have cleared this up immediately.

Playing both guitar, keyboards and trumpet/flugelhorn in session work for years (long story short, when I found out the union allowed mo' money for "multi-instrumentalist" I even bought finger cymbals...) I soon picked up on a lot of the things that guitarists say and do about music theory and other musical terms that apply only to the thinking of guitar players. And then when I tried my hand at bigband arranging and composing, found and learned much more as the years slipped by. My viewpoint is that if I can put something on my chart that makes the performance *easier* to interpret for each musician then I've done my job well. And since Fake Chording is an evolving nomenclature and not a dead language, I can live with that.

"I don't care if he thinks its a Q minor demolished ninth with a major seven, the cat can PLAY..."

--Mac

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If you enter C5, you only get a chord composed of two notes, C and G. No third (E).

--Mac

What? ...I may be reading this out of context

.

If we are talking Midi, than what you get when you enter C5 will be differenct every time you hit play, for every midi track and occassionally it may be a root - fifth but most of the time it will very between many other options which fit nicely along with a C5. The emphasis (likelyhood of specific voicing) will be dictated by the sytle. BIAB will not play a specific voicing any more than any two musicians will play the some voicings of a specific chart (unless the band leader says ", hey you, I want it this way!"). This point is what most newbees don't comprehend. Only way would be to edit the midi line and freeze the track.

You can easily verify this by loading differenct syles, entering a C5 and viewing the notes played for each instument. In this case could get a root - fifths but also thirds and any other passing notes both in scale and out again depending on the style. Specific voicings for chord can not be specified in BIAB.

But before I call you out on this, (Heck, your the man here

), perhaps there is a style which would restricts itself to root five on a C5.

Dan,

My understanding of the C5 is that it's what some people call a "power chord" and it's designed to only play root and fifth. If passing notes are included, then thirds would potentially be possible but I'm not sure that they are.

Regards,
Noel

Quote:

Dan,

My understanding of the C5 is that it's what some people call a "power chord" and it's designed to only play root and fifth. If passing notes are included, then thirds would potentially be possible but I'm not sure that they are.

Regards,
Noel

got ya noel, my point in only that BAIB will not play only a C and G when you type in a C5. I saw one style where the piano was laying down a steady 1,5 for a bit over an extended C5 set of bars, but the guitar was plunking away with full C chord voicings. When I hit play a second time - totally differenct piano arrangemetn over the same C5. But we all know that is what BIAB does.

Whether or not BB plays the two-note Power Chord for an entered C5 is indeed Style dependent.

There are Rock styles that are designed to only play the actual root and fifth, check out some of the Hevmet styles, etc.

But many of the Jazz styles do not have the two note chord in any of the internal selections. The Power Chord is not exactly a common thing in Jazz and other styles.

Those styles will have the third and possibly other embellishments typical to Jazz playing (such as the Dom7 or perhaps the Maj6, etc.) in their patterns and since that is all that is available to play and since that is what a Jazz pianist or guitarist would ordinarily play, those styles may indeed play something other than the rock Power Chord.

Even given that, though, I don't know if using C5 in any of those other styles would reliably yield the given C chord structure for any of the guitars, or whether it would perchance even have that particular voicing/fingering in it at all.

--Mac