Matt

I think my voicing plan would only work for midi. I've always thought that BIAB would be better going down the 'improved midi' route than the 'done deal' of Real Tracks. Several years ago the latter seemed like the best bet. Since then midi synths and samplers have improved markedly and even now BIAB is doing 'super midi' .

How would my voicing template work for an unsupported chord? Well its not so much a way of playing unsupported chords (although it can do that) as getting different textures based on seconds for the usual chords.
For example in my system you could have a CMaj chord as Fmaj7/C. The F maj7 would be simply a minor second E- F over the root C. so that would be a voicing of C E F. If you wanted a fourth note then make your chord track into the melody to be harmonized.

Then a second chord sheet could have B/C adding the B (Maj7th) to the 1, 3, 4 chord using a low root harmony plus melody (move the low root up an octave or two) so you now have a voicing for CMaj of 1, 3, 4, 7.

Every time you input a Maj7 or Min7 in this system you're thinking primarily of an interval.

The benefits are better control over the top line and bass voices in the chord giving you the ability to do linear harmony with contrary motion for example. Also fewer notes in the chord and fewer thirds tend not to lock the soloist in to the harmony so much.

Moving the chord part to the melody channel gives the flexibility of doubling the chord part to thicken the texture with the Melody Harmony if necessary and also the ability to switch the register up or down.

Sure its more work and looks daunting at first but there's really not much to it in terms of work flow once you get used to it. Until we get easier control over the notes output by BIAB's chord parts, I feel its the best way to go beyond tertian harmony and fourths in BIAB

Regards

Alan

Last edited by alan S.; 06/10/13 04:44 PM.