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Brille Offline OP
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I have tried to find out why Band in a Box sometimes turns an entered Ebj7 chord into a D#j7 when entering chords. The chord representation with sharp or flat in Band in a Box somehow refers to the diatonic steps of the key selected at the time of chord input. In this way it is even possible to display an Ebmaj7 and a D#maj7 simultaneously in one piece or even in one bar. That's a bit bizarre, but it works, I just tried it out.
Example:
- Select key "C"
- Enter Ebj in the first bar, then there is an Ebj7.
- then set the key of the piece to "E" (without transposing)
- Then enter D#j in the next bar and voilá: D#j7 appears next to Ebj7.
You can then reset the key again, nothing changes, not even after saving and reloading. Unless you go into the bars and change the chords again, then the chord name will be changed according to the basic key.
Are there any good reasons for this automatic reinterpretation? If not, it would be good if this behavior could be controlled via a switch in the presets (Checkbox: typed chords are enharmonically reinterpreted or not).


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+1, big time.

Aside that might be relevant: One of my favorite programs is an ancient notation program called Encore. It’s terribly buggy and basically dead and unsupported, but I still use it. It has the ability to highlight anything - chords and/or notes - and do Ctrl+E to change the selected area enharmonically. Brilliant.


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Definitely a very reasonable suggestion.

There are several areas where enharmonic displays need to be improved.

+1


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A BIG +1


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Definitely
+1

While you’re at it. The mixing of sharps and flats in the melody of the same song, should be optional.
Band in a box always interprets the melody relative to the chord of the bar it’s in. Says so in the help files, and -sadly- it works like they say it does. This should be an option.

If you’re not the world’s greatest reader, being confronted with sharps and flats in the same score, even in the same bar is really hard.

If you check the good realbooks, they try to avoid mixing up sharps and flats.

It won’t require much tweaking since the note dialog (notation, right click any note or hit the # button) seems to stick to either sharps or flats for the whole song, depending on the key: flat keys use flats and sharp keys....

Logic,

Thx


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I basically agree with you, Dzjang. I do however sometimes decide to mix sharps and flats in the same measure. I use sharps when the line ascends, and flats when it descends. But it very much depends on the situation and how much I think this is needed for ease of reading a difficult passage.


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Originally Posted By: Brille
... it is even possible to display an Ebmaj7 and a D#maj7 simultaneously in one piece or even in one bar. That's a bit bizarre, but it works, I just tried it out.
Example:
- Select key "C"
- Enter Ebj in the first bar, then there is an Ebj7.
- then set the key of the piece to "E" (without transposing)
- Then enter D#j in the next bar and voilá: D#j7 appears next to Ebj7.
...

Usually it's even possible to mix enharmonic chord symbols such as EbMaj7 and D#Maj7 simply via editing - no need to get engaged in any key changing gymnastics.

There is one use case, though, where this approach won't work -> whenever some transposition is active, as is often the case with saxophone players, say, mixing of enharmonic chord symbols is not supported.

Originally Posted By: Brille
I have tried to find out why Band in a Box sometimes turns an entered Ebj7 chord into a D#j7 when entering chords.

That's most likely the case whenever transposition is active and certainly may lead to frustration.

This use case might deserve attention with some future update.


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Brille Offline OP
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Martin,
Transposition active, that's really an important clue. I did not come up with that. And this is not only with saxophone notations (or wind instruments at all) but also double bass notations, which I work with.
Great hint! That should be fixed.


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Yes, it should. I didn't know this either, but it does explain a few things.


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