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Hi Everyone,

You know what would be really cool: If BIAB could expand the idea of slash chords to include not just slash notes but slash triads like C/Db(triad) or Cm/Bbm(triad). Two things to consider

(1) The above are very hip sounds without equivalents - at least it seems so at first glance - in BIAB.

(2) I've been convinced for ages (and it turns out that other Forum members have thought about it - see the thread on Polychords by Tonnie) that this generalized slash notation would take the fat out of chord names like Dbmaj13#9#11. A convincing example will be given below.

Evidently, this slash system has existed for years in even more general form and is part of conventional jazz education. Such extended notation - chord X/chord Y - shouldn't present great difficulties for MIDI implementation in BIAB.

Take my favorite chord: C13b9#9#11b13 - not really, I just made it up at random as a suitably grotesque example. Needless to say, it is not in BIAB's chord list. However, rewritten as chord X /Chord Y where X = Ab (major triad) and Y = Gbm7, it becomes Ab/Gbm7. If you were an improviser, which notation would you prefer to see?

Let's check it on the piano. With the left hand play the inversion Db E Gb A for the slash chord Gbm7 and the inversion C Eb Ab in the right. Actually, you can use any inversions you like.

Listen to that killer chord. Now it's a fave!

Reading from left to right, we have Db E Gb A C Eb Ab, which in the key of C works out to

b9 3 #11 13 ROOT #9 b13.

The fifth and dominant seventh are suppressed. The bassist can play any of these notes, but C, Gb and Ab seem like preferred choices.

I ask PG to seriously consider the idea for MIDI implementation and other Forum members to give support.

Aleck Rand


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Originally Posted By: aleck rand
If you were an improviser, which notation would you prefer to see?

Aleck Rand

The short one, naturally.

+1


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Originally Posted By: Matt Finley
Originally Posted By: aleck rand
If you were an improviser, which notation would you prefer to see?

Aleck Rand

The short one, naturally.

+1


Another +1 for the same reason!


Me, it's not about how many times you fail, it's about how many times you get back up.
Cop, that's not how field sobriety tests work.

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Ditto!

+1


Cheers,
Mike

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Absolutely

+1

It's not just that the chord sheet ends up a mess of extended/altered dominant spellings. It's how you respond to it as a player. You're more likely to see 13susb9#11 or whatever as a V chord. Diatonic spellings lead to diatonic thinking.

The other thing is that BIAB rarely plays the whole extended chord at once. The limitations of it's C7 chord template become evident if for example the pattern doesn't have enough octave doublings to support extended dominant voicings. For example you need midi notes G5 and a G6 in every pattern's chord voicing to get #11 and the natural 5th to sound together consistently.




Regards

Alan

Last edited by alan S.; 06/16/13 05:09 AM.
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Yes, I am in favour of that, too.

Michael Frank

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[i][/i]
Originally Posted By: alan S.

Diatonic spellings lead to diatonic thinking.
Alan

Surprisingly deep.


BIAB 2024 Win Audiophile. Software: Studio One 6.5 Pro, Swam horns, Acoustica-7, Notion 6; Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus Studio 192, Presonus Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors
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