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Learn the patterns for the "inside chords" and use those, with less notes in the stack, typically three-note or four-note stacks rather than Barre chords.
--Mac
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Quote:
7. Does anybody know how C G A is called in music theory?
Superbron
I think it's just an 'ambiguous' triad and might have many uses, because it suggests some form of incompleteness ( no third) , and therefore it can belong to many keys and modes. You could say that it is some form of Lydian chord with a G,A suspension that would resolve on Fsharp, A
or it could be an incomplete dominant chord like a C9 chord
it could be a Cm6 without the minor third
it could be almost anything, if you start including possibilities with inversions
Last edited by avatars_the_titletrack; 04/06/10 06:15 AM.
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Band-in-a-Box for Windows
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Joined: May 2000
Posts: 38,502
Veteran
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Veteran
Joined: May 2000
Posts: 38,502 |
Quote:
7. Does anybody know how C G A is called in music theory?
Superbron
How about, C5add6 or C5add13
add6 would imply that the A is ihe same octave with that G.
--Mac
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Band-in-a-Box for Windows
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Quote:
Quote:
7. Does anybody know how C G A is called in music theory?
Superbron
I think it's just an 'ambiguous' triad and might have many uses, because it suggests some form of incompleteness ( no third) , and therefore it can belong to many keys and modes. You could say that it is some form of Lydian chord with a G,A suspension that would resolve on Fsharp, A
or it could be an incomplete dominant chord like a C9 chord
it could be a Cm6 without the minor third
it could be almost anything, if you start including possibilities with inversions
Thanks avatars_the_titletrack. I am experimenting with these 'chords'/triads of incompleteness. I like the feel they have, resoving it to the expected chord after suspension.
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Band-in-a-Box for Windows
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Joined: Feb 2007
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OP
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Quote:
Quote:
7. Does anybody know how C G A is called in music theory?
Superbron
How about, C5add6 or C5add13
add6 would imply that the A is ihe same octave with that G.
--Mac
Thanks Mac,
The problem is that Biab doesn't accept these 'chords' :-(
Cheers,
Superbron
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Band-in-a-Box for Windows
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The way i like to compose on the guitar involves this sort of incomplete 3 note voicing but thought of as a constant treble interval type (e.g alternating m/maj 3rds or m/maj 2nds ) moving in counterpoint with a bass note.
I find it the easiest way of keeping all the elements of harmony melody and rhythm in mind at each point in the tune.
Generally speaking I let the movement of the inner and outer voices determine the key/scale movement of the tune which is gathered up later and analysed for implied changes.
Just a shame you can't replicate these voicings in BIAB without a lot of effort or without turning them into complete chords that become too oppressive in their completeness.
I have a method where I reconfigure the stylemaker patterns to have just two roots (one on C4) and a seventh. You have to use the velocity command to filter out unwanted voices)
Each 3 note chord can then be input as some kind of 7th chord over a bass note.
regards
Alan
Last edited by alan S.; 04/11/10 07:30 AM.
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Band-in-a-Box for Windows
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Joined: Jul 2004
Posts: 303
Journeyman
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Quote:
How about, C5add6 or C5add13
add6 would imply that the A is ihe same octave with that G.
--Mac
good point!
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Band-in-a-Box for Windows
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Joined: Jul 2004
Posts: 303
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Quote:
I am experimenting with these 'chords'/triads of incompleteness. I like the feel they have, resoving it to the expected chord after suspension.
yes I love that too. The important thing to remember is that the note of resolution must not be played while the suspension is happening....for example, if the music plays the notes C,G,A , none of the other parts or instruments should play an Fsharp, otherwise the effect is ruined.
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Band-in-a-Box for Windows
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Joined: Jun 2009
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"The problem is that Biab doesn't accept these 'chords' :-("
Hi Superbron,
I do notice there is a lot of discussion as to how to get BIAB to play various types of chords.
Do you already play an instrument? The workaround I do when coming across either BIAB not containing the particular chord configuration or the RT not having been programmed with the chord is to select a chord closest to my desired chord that is missing in BIAB/RT. Then, I will play the missing intervals on my guitar or piano. In the case of the "C,G,A" chord specifically because you do not want the 3rd (E) in the chord to be played I would set the BIAB to a "C5" and play the format you have described on your live instrument or voice for that matter.
I may be speaking alone here being one who is still trying to learn all the complexities to this program. But, when I think of what BIAB is supposed to do in that of accompaniment, it is not foreign to my logic to think I am the primary player/instrumentalist on the track. How I apply that is as long as BIAB is setting up the "accompanying" process by supplying key parts playing the essential notes, I can lay on top of that any embellishments such as polychords, or other chord derivatives that depart from the standard chord selection.
The only time that practice does not work is when you don't play an instrument and thus you are now relying upon BIAB to be your sole arranger/band. Then, I am afraid in that case, you may be going in a direction that BIAB may not have been built for.
I hope I did not step on any toes here. Again, if I misrepresented the logic of BIAB in the arena of music accompaniment, please feel free to correct me.
Thanks!
RickeG
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Band-in-a-Box for Windows
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I feel that BIAB should be working to obviate the need for the player to adjust his/her playing to the dicates/limitations of the program. Its not such a big stretch to include a function that modifies the chord output and it's far from a question of taking BIAB away in a different direction from what it was designed for or making it a complete arranging solution. I would have thought this is the one area a basic auto- accompaniment program could be looking to improve.
Asking the player to sight-read the chord output back so that they can add a note to the accompaniment at just the right point may be possible but its surely a case of the tail wagging the dog.
Another way of obtaining the desired voicing is to move the chord track to the melody channel then use the melody/harmony function (low harmony note) shifted up a couple of octaves to add another note. But this means cutting/pasting between two sets of changes, one for the chord and then another for the single added note. Then back to the original changes to keep the bass moving properly.
If you can get BIAB to output just three chord tones, then a polychord using the same method is obtainable, this time using other melody/harmony voices to achieve the second chord.
The difficulty at the moment in BIAB and with this threads focus in mind, is in getting fewer rather than more notes in the chord. Dropping 7ths, 5ths or 3rds is the way to achieve the voicings talked about here and as i said it's not hard to envisage a function that could achieve this.
regards
alan
Last edited by alan S.; 04/12/10 03:57 PM.
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If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
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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.
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