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If we would treat the “mother” chord for stylemaker as mixolydian, then you could easily define all chords that biab displays as some alteration of the mother chord. We would have to treat mixolydian as Herbie Hancock does in Maiden Voyage: all the scale notes are possible! (As Marl Levine points out in the Jazz Piano Book)
The only things to watch out for are the (real) avoid notes: the third for sus chords and for phrygian, the b6 in minor chords, the unaltered 4th in major.
Passing tones could be macro notes: if next note is a whole step up, then insert chromatic below... if next note is a half step above, then insert chromatic (or scale tone) above the next tone.
What to do with “out” notes? I wouldn’t know.
There’s only three scales (major, melodic minor, harmonic minor) and two symmetrical scales to consider. And in harmonic and melodic minor a few of the modes aren’t really used.

I can’t see any chord in biab’s chord list not fitting the 21 possible scale chords (three most important scales) or the 2 symmetrical ones.

As long as bass and piano/guitar stick to scale tones and passing tones, you should be good. If you really want a specific voicing, use midi. So, if on C7alt the bass plays b9 or #9, that’s not really important. It fits the scale of the moment.

You could add the augmented scale, but I truly believe it’s not a scale that is used in composing, as much as it is an improvisational thing.

Thx for the reply and your wonderful work on reaper plugin.

Last edited by Dzjang; 07/26/19 07:31 PM.
Biab, Kontakt, Sampletank and lots of nice libraries, from Fluffy audio to Abbey Road drums.
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