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I am curious about the key selection setting when making a BIAB chord sheet progression.
I know all will not agree with this music theory perspective, but some consider there to only be 12 keys in music (12 major/relative minor pairs or key signatures).
If one adopts this perspective then the question arises as to what BIAB is doing if you select, let's say, the key of C vs. the key of Am.
In that major/minor pair, the notes are all the same, the diatonic chords are all the same, but the feeling of "home" is different depending on how you write the progression.
For an example let's say I MAINTAIN this 12 key perspective and want to write a chord progression with the C/Am pair with Am being the feel of "home". I am a guitar player and using Nashville notation I might write a chord progression as 6- 4 1 5 (Am F C G) (these numbers maintain the major numbering perspective as a standard)
WHAT will BIAB do and WHY if I choose the key setting for this chord chart as either C or Am?
(hopefully this discussion will not morph into a debate as to whether 12 keys vs many more keys is the "correct" model, but will just help me understand what happens with picking one or the other key designation of a relative major/minor pair in the BIAB settings). Thanks so much.
Last edited by Moonbeam9067; Yesterday at 09:23 AM.
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For an example let's say I MAINTAIN this 12 key perspective and want to write a chord progression with the C/Am pair with Am being the feel of "home". I am a guitar player and using Nashville notation I might write a chord progression as 6- 4 1 5 (Am F C G) (these numbers maintain the major numbering perspective as a standard)
WHAT will BIAB do and WHY if I choose the key setting for this chord chart as either C or Am? From the teorectical perspective you have a bit of an error. You correctly understand the "home" with all the other family of chords have a role to play in leading and pulling with respect to home. The diatonic chords for Am are: Am (i), Bdim (ii°), C (III), Dm (iv), Em (v), F (VI), and G (VII). So your case example is incorrect. If you are writing in Am, then your progression is actually i - VI -III - VII. Having said that, I don't think this would concern a band using Nashville notation. Since I believe it is their practice to base their perspective versus the Major Scaler - which is what you did. What does BIAB do? I just entered your progression and low and behold it does distinquishs between C and Am. My way, for Am and your way for C.
Last edited by DrDan; Yesterday at 09:44 AM.
BIAB – 2026, Reaper (current), i7-12700F Processor, 32GB DDR4-3200MHz RAM, Motu Audio Express 6x6 - My SoundCloud.
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Thanks. Distinguish how so? What does it actually do depending on that choice and why does it do it? I so appreciate your help as always!
And yes, the Nashville folks do always (well almost always as a standard) stick to the major perspective when writing a "minor" progression. It makes it faster for them to write and communicate a chart without all the changes to the numbers and addition of flats etc. or the complex changes that one might do with the Roman numeral system. I know everyone does not do it this way, but in that community (especially for guitarists since one can so easily transpose up the neck or with a capo) they have chosen this as a standard. I know you probably know this - I am just clarifying my perspective for this question, not debating the various numbering schemes.
Last edited by Moonbeam9067; Yesterday at 09:56 AM.
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Thanks. Distinguish how so? What does it actually do depending on that choice and why does it do it? I so appreciate your help as always!. What it does is correcting identy the chord sequence by its proper enharmonic sequence. I think we are in agreement that the Nashville players would prefer the first one. But who ever wrote the song would likely use the second. I typed in your chords, then told BIAB it was in Key of C ![[Linked Image - Only viewable when logged in]](https://www.pgmusic.com/forums/ubbthreads.php?ubb=download&Number=31930&filename=c.jpg) I then Told BIAB it was Key of Am. ![[Linked Image - Only viewable when logged in]](https://www.pgmusic.com/forums/ubbthreads.php?ubb=download&Number=31931&filename=am.jpg) In both cases BIAB adjusted the Nashville notation to distinquich between the keys.
Last edited by DrDan; Yesterday at 10:33 AM.
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Holy cow, first of all I had no idea that one could put in numbers in the chord sheet for BIAB. That is just amazing. Thank you so much for showing that - I really learned something!!
Second I can see what you mean by BIAB then changes the numbering to the minor perspective. That is very neat and certainly consistent with how many musicians think about numbering. Since I didn't know that numbers could be entered I never would have figured this out without your generous help.
So then that leaves my final question. Will BIAB make any sonic changes depending on whether I choose C or Am? I can see where this will change the numbering scheme, but will it do anything to a style playing with the chord sheet as long as I enter the right chords? In other words, will BIAB make any playback changes for the same progression based on what Key I enter in the key box (ie; C or Am)?
DrDan rocking my education today!
Edit: And Oh my, in the UI you can change the numbering or standard chord notation display. Oh my, you can change to font of the chords displayed. Wow. Who knew! (clearly not me!)
Last edited by Moonbeam9067; Yesterday at 11:17 AM.
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Hi Moonbeam. Regarding the major/minor pairing, you are correct provided the composer has used the natural minor (also called the Aeolian mode if one uses the nomenclature of the church modes). The natural minor mode is often used in folk songs. The following explanation is overly simplistic, but I have found it a useful perspective when writing songs. In classical music, the primary triads [3-note chords based on the first (I), fourth (IV) and fifth(V)] notes of a scale are usually the basis of harmony for that key. The secondary triads [the chords based on notes other than I, IV or V] are usually used to add shades of audio 'colour' through harmonic variation to the foundation created by the primary triads. Classically, the minor key is less clear-cut than the major key. The reason for this is that in addition to the natural minor, there is also the harmonic minor and the melodic minor. As their names imply, these versions of minor keys are used for harmony (determining the primary and secondary chords) and writing melody. This gives the three main minor keys. (There are other minor modes but these are less common.) I have used the various A minor scales below to explain the differences. A natural minor: A B C D E F G with primary triads Am (I), Dm (IV) and Em (V) A harmonic minor: A B C D E F G# A primary triads Am, Dm E; the major chord V has a stronger dominant effect than the minor V in the natural minor A melodic minor: A B C D E F# G# A (ascending form) A B C D E F G A (descending form) primary triads Am, D, E (based on the ascending scale) primary triads Am, Dm, Em (based on the descending scale) In a great deal of music, it is more than likely that the writer has used G# (raised seventh note), and possibly the raised sixth note (F#) in either harmony or melody if the song is in a minor key. This variation of notes between major keys and their relative minors can create issues, especially in Realtracks based on melodic sequences such as Soloist or Background Realtracks. - For example, if leave the key set to C major and write a song in A minor, it is more than likely that I will use either E or E7 as the dominant chord V in a chord sequence that returns to the tonic chord (Am). The progression E (or E7) to Am is the most satisfying progression to close a section. This is called a perfect (or authentic) cadence. The net result is that with the key set to C major and the harmony based on A minor (i.e. BIAB's chordsheet's chords), I could have a musical clash if an E7 chord plays against a melodic sequence that contains the note G (rather than G#). This is because setting the key to C tells BIAB to search for melodic sequences based on the C major scale (with no G#) rather than melodic sequences based on the A minor scale (with G#).
I know the above might be confusing to read, but I wanted to provide some terminology that will allow readers of this post to search the internet if they want to investigate the musical differences between major and minor keys. --Noel
MY SONGS...Audiophile BIAB 2025
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This is not an answer to your specific question about music theory, but I can say in general that the closer you get to the 'correct' key signature entered into your BIAB song, the less likely you will hear notes generated that you think are 'wrong'. It's very common for people to enter a song and forget to change the default key signature of C, but you should. I wrote a sticky post in the Tips and Tricks Forum about BIAB playing notes that are not in the chord you wrote, and some things that you can examine and experiment with to see if it makes a difference. The very first tip is Enter the Correct Key Signature. You can read the article here: https://www.pgmusic.com/forums/ubbthreads.php?ubb=showflat&Number=694482#Post694482There is a newer school of thought in jazz arranging that you just write everything in the key of C major and write all the needed accidentals. Personnally I can't stand that; using key signatures gives you additional information that assists in sight-reading and improvising. But if your chart modulates a lot within the range of just a few measures, there is something to be said for it. Just do not try entering the chart that way into BIAB; instead try to change the key signature as many times as needed (F5) to increase the chance of BIAB's accompaniment being pleasant sounding.
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Spectacular reply as usual from you!!! All wonderful explanations. I see what you are saying. IF I choose to do the typical E Major or E7 device (rather than Em) for the 5 chord to make the resolution to home (Am) more emphatic, as is often done in classical music (and some pop of course), then I can see by your explanation that BIAB might then be confused if I enter The Key of C because it will expect a non raised 5 chord (Em) and thus might clash.
BUT if I do NOT use the classical convention and just have the 5 chord be the technically correct Em chord then the setting to the key of C is the way to go.
IF I have this correct from your excellent teaching, then I now think I understand how to pick the right key setting for a composition in the major/minor key pair.
If you are not going to change away from the natural minor scale sensibility, then picking the major perspective is desirable because BIAB will then not assume altered notes.
If you are going to use the very common cadence moves to intensify resolution, then picking the minor perspective is the way to go due to BIAB's creating melodies to fit this convention.
Let me know if I have this down.
I NEVER would have been able to know this without your help. Understanding how BIAB makes choices is fascinating and technical. Thanks for the coaching!
Last edited by Moonbeam9067; Yesterday at 02:22 PM.
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This is not an answer to your specific question about music theory, but I can say in general that the closer you get to the 'correct' key signature entered into your BIAB song, the less likely you will hear notes generated that you think are 'wrong'. It's very common for people to enter a song and forget to change the default key signature of C, but you should. I wrote a sticky post in the Tips and Tricks Forum about BIAB playing notes that are not in the chord you wrote, and some things that you can examine and experiment with to see if it makes a difference. The very first tip is Enter the Correct Key Signature. You can read the article here: https://www.pgmusic.com/forums/ubbthreads.php?ubb=showflat&Number=694482#Post694482There is a newer school of thought in jazz arranging that you just write everything in the key of C major and write all the needed accidentals. Personnally I can't stand that; using key signatures gives you additional information that assists in sight-reading and improvising. But if your chart modulates a lot within the range of just a few measures, there is something to be said for it. Just do not try entering that chart into BIAB; instead try to change the key signature as many times as needed to increase the chance of BIAB's accompaniment being pleasant sounding. Awesome Matt! I am on it. So glad you directed me to that. EDIT: This is gold!!!
Last edited by Moonbeam9067; Yesterday at 02:20 PM.
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Spectacular reply as usual from you!!! All wonderful explanations. I see what you are saying. IF I choose to do the typical E Major or E7 device (rather than Em) for the 5 chord to make the resolution to home (Am) more emphatic, as is often done in classical music (and some pop of course), then I can see by your explanation that BIAB might then be confused if I enter The Key of C because it will expect a non raised 5 chord (Em) and thus might clash.
BUT if I do NOT use the classical convention and just have the 5 chord be the technically correct Em chord then the setting to the key of C is the way to go.
IF I have this correct from your excellent teaching, then I now think I understand how to pick the right key setting for a composition in the major/minor key pair.
If you are not going to change away from the natural minor scale sensibility, then picking the major perspective is desirable because BIAB will then not assume altered notes.
If you are going to use the very common cadence moves to intensify resolution, then picking the minor perspective is the way to go due to BIAB's creating melodies to fit this convention.
Let me know if I have this down.
I NEVER would have been able to know this without your help. Understanding how BIAB makes choices is fascinating and technical. Thanks for the coaching! Your understanding is 100% correct. You have written a very clear and very succinct summary. To set the key, be guided by the notes that are being used to write the melody. For example, if you write a song in G Myxolydian mode (such as The Beatles "Norwegian Wood"), the notes are G A B C D E F G. That is, the notes of the C scale form G to G. This indicates that setting BIAB to the key of C major is probably the best option rather G major (with F#) or G minor (with Bb, Eb, F# (raised 7th)).
MY SONGS...Audiophile BIAB 2025
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Further to Matt's comment....
In a lot of American standards from the Tin Pan Alley era (1920s - 1909s), the bridge section (in particular) often transitions through one or two key changes. During these sections, I have found it beneficial to set the temporary key to what the V7 - I progression indicates.
For example, in the key of C, I often write a bridge that uses the last few chords to transition to the key of G before returning to the key of C in the final section. Thus a chord sequence (say) of Am - D7 - G happens where Am is a pivot chord (since it occurs in both the C and G major scales) and it leads to a II - V7 progression in key G. The chords D7 - G indicate that I have temporarily entered the key of G since D7 - G is a V7 - I progression in G major. In this instance, I would change the bars for D7 - G to the key of G. I would then reset the key for the next section to C. BIAB allows for temporary key changes. It's under the Edit menu (if I recall correctly).
MY SONGS...Audiophile BIAB 2025
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Your understanding is 100% correct. You have written a very clear and very succinct summary. To set the key, be guided by the notes that are being used to write the melody. For example, if you write a song in G Myxolydian mode (such as The Beatles "Norwegian Wood"), the notes are G A B C D E F G. That is, the notes of the C scale form G to G. This indicates that setting BIAB to the key of C major is probably the best option rather G major (with F#) or G minor (with Bb, Eb, F# (raised 7th)). Whoa, I never would nave thought of this either! Really good thing to know about modal progressions. Thank you! I am getting it. BIAB thinking melodies while I am thinking chords.
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Further to Matt's comment....
In a lot of American standards from the Tin Pan Alley era (1920s - 1909s), the bridge section (in particular) often transitions through one or two key changes. During these sections, I have found it beneficial to set the temporary key to what the V7 - I progression indicates.
For example, in the key of C, I often write a bridge that uses the last few chords to transition to the key of G before returning to the key of C in the final section. Thus a chord sequence (say) of Am - D7 - G happens where Am is a pivot chord (since it occurs in both the C and G major scales) and it leads to a II - V7 progression in key G. The chords D7 - G indicate that I have temporarily entered the key of G since D7 - G is a V7 - I progression in G major. In this instance, I would change the bars for D7 - G to the key of G. I would then reset the key for the next section to C. BIAB allows for temporary key changes. It's under the Edit menu (if I recall correctly). Amazing. It is so interesting to me to learn how this program "thinks". Thanks Noel and Merry Christmas to you!
Last edited by Moonbeam9067; Yesterday at 03:10 PM.
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Tons of songs modulate up a fourth, or up or even down a minor third, to the bridge. And of course there are plenty of other possibilities.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
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Here’s just a small sampling of what you can look forward to in XPro Styles PAK 10: Soft indie folk worship songs, bumpin’ country boogies, gospel praise breaks, hard rockin’ pop, funky disco grooves, smooth Latin jazz pop, bossa nova fusion, western swing, alternative hip-hop, cool country funk, and much more!
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Rejoice, one and all, for Xtra Styles PAK 21 for Band-in-a-Box® is here! We’re serving up 200 brand spankin’ new styles to delight your musical taste buds! The first three courses are the classics you’ve come to know and love, including offerings from the rock & pop, jazz, and country genres, but, not to be outdone, this year’s fourth course is bro country! A wide ranging genre, you can find everything from hip-hop, uptempo outlaw country, hard hitting rock, funk, and even electronica, all with that familiar bro country flair. The dinner bell has been rung, pickup up Xtra Styles PAK 21 today!
In this PAK you’ll discover: Energetic folk rock, raucous train beats, fast country boogies, acid jazz grooves, laid-back funky jams, a bevy of breezy jazz waltzes, calm electro funk, indie synth pop, industrial synth metal, and more bro country than could possibly fit in the back of a pickup truck!
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Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 21 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Band-in-a-Box 2026 for Windows is Here!
Band-in-a-Box® 2026 for Windows is here and it is packed with major new features! There’s a new modern look, a GUI redesign to all areas of the program including toolbars, windows, workflow and more. There’s a Multi-view layout for organizing multiple windows. A standout addition is the powerful AI-Notes feature, which uses AI neural-net technology to transcribe polyphonic audio into MIDI—entire mixes or individual instruments—making it easy to study, view, and play parts from any song. And that’s just the beginning—there are over 60 new features in this exciting release.
Along with version 2026, we've released an incredible lineup of new content! There's 202 new RealTracks, brand-new RealStyles, MIDI SuperTracks, Instrumental Studies, “Songs with Vocals” Artist Performance Sets, Playable RealTracks Set 5, two new RealDrums Stems sets, XPro Styles PAK 10, Xtra Styles PAK 21, and much more!
Special Offers
Upgrade to Band-in-a-Box® 2026 for Windows and save up to 50% on most upgrade packages during our special offer—available until December 31, 2025. Visit our Band-in-a-Box® packages page to explore all available upgrade options.
2026 Free Bonus PAK & 49-PAK Add-ons
Our Free Bonus PAK and 49-PAK are loaded with amazing add-ons! The Free Bonus PAK is included with most Band-in-a-Box® 2026 for Windows packages, but you can unlock even more—including 20 unreleased RealTracks—by upgrading to the 2026 49-PAK for just $49. Browse the full contents of each package and listen to demos here.
XPro and Xtra Styles PAKs Special Extended Until August 31st!
XPro & Xtra Styles PAKs Special Extended Until August 31st!
The XPro Styles PAKs and Xtra Styles PAKs special offers are now available until August 31st at 11:59pm PDT!
Ready to take your Band-in-a-Box® 2025 experience to the next level? Now’s the perfect time! Expand your style library with XPro and Xtra Styles PAKs—packed with a wide variety of genres to inspire your next musical creation.
What are XPro Styles and Xtra Styles PAKs?
XPro Styles PAKs are styles that work with any version (Pro, MegaPAK, UltraPAK, UltraPAK+, or Audiophile Edition) of Band-in-a-Box® 2025 (or higher). XPro Styles PAKS 1-9 includes 900 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). With over 3,500 styles (and 35 MIDI styles) included in Xtra Styles PAKs 1-20, the possibilities are endless!
Get the XPro Styles PAKs 1 - 9 for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Listen to demos and order now! For Windows or for Mac.
Note: XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Get Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 19 PAKs for $199 (reg $399)! Listen to demos and order now! For Windows or for Mac.
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 19 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Don’t miss this chance to supercharge your Band-in-a-Box setup—at a great price!
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