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There's some important chords that aren't supported yet which would be very good to have :
sus maj7 or maj sus4 spelt... C,E,B or even C,E G,B
minMaj7b5 ...C, Eb F#, B
dim ........C , Eb, A
Maj7 add6 ..C, E ,G, A
min add9....C, Eb, G, D
min9#5......C, Eb, Ab, Bb
There's maybe more that others could add.
I wanted also to ask if it would be too difficult a job to allow people to add there own chords.
Or at least some kind of facilty for dropping one chord member the 3rd or 5th or 7th from a voicing would open up a lot of possibilities. Just trying to get some feedback from you on this.
It would be good if others bumped this thread and add their won thoughts too.
Regards
Alan
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Yes, it would be great if we could have more chord types.
I'm good with adding the Min add9, which was recently discussed in another thread.
Isn't CMaj7(sus4) C, F, G, B with no E?
For dim, to clarify, we want a pure diminished, not a diminished seventh. That would be C Eb Gb with no A.
Shouldn't a CMaj7(add 6) also have B, the Maj7?
Shouldn't a Cmin9(#5) have D, the ninth?
I would also like to add 7(#11) so I don't have to enter it 9(#11)
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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Quote:
Yes, it would be great if we could have more chord types.
I'm good with adding the Min add9, which was recently discussed in another thread.
Isn't CMaj7(sus4) C, F, G, B with no E?
For dim, to clarify, we want a pure diminished, not a diminished seventh. That would be C Eb Gb with no A.
Shouldn't a CMaj7(add 6) also have B, the Maj7?
Shouldn't a Cmin9(#5) have D, the ninth?
I would also like to add 7(#11) so I don't have to enter it 9(#11)
I'm with Matt here.
I would also like to add:
sus2: C, D, G (I know this is an inverted Gsus4, but I would like to have the pure chord)
sus6: C, G, A (could also be C5add6?)
Cheers,
Superbron
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I would like a special dialog box that could be opened with a right click.
The box would have a field where you type the name of the root and then check boxes for all the intervals above the root so you could choose your own. That way if you wanted a C minor add 9 you could type C and check the box near the following, m3, 5, and 9
You could then build any chord you wanted.
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Quote:
There's some important chords that aren't supported yet which would be very good to have :
sus maj7 or maj sus4 spelt... C,E,B or even C,E G,B
minMaj7b5 ...C, Eb F#, B
dim ........C , Eb, A
Maj7 add6 ..C, E ,G, A
min add9....C, Eb, G, D
min9#5......C, Eb, Ab, Bb
There's maybe more that others could add.
I wanted also to ask if it would be too difficult a job to allow people to add there own chords.
Or at least some kind of facilty for dropping one chord member the 3rd or 5th or 7th from a voicing would open up a lot of possibilities. Just trying to get some feedback from you on this.
It would be good if others bumped this thread and add their won thoughts too.
Regards
Alan
hi ! I am all for that, too. A few things about the chords you mentioned:
the second chord, C, Eb, A is not a diminished chord or triad, since there's not b5.....your chord is more likely to be interpreted as min6 with no 5th ( omitting the fifth, if it's not altered, doesn't change the quality of the chord much). But yes when you write this chord in BB, it writes is as a dim7 : C, Eb, Gb, Bbb (double flat). BB should just write C,Eb,Gb for a Cdim....nothing else. This chord is almost always taken in first inversion (with the Eb in the bass) because that way sounds less harsh.
the third chord is not a maj7 chord, since there is no maj7 (B ). It's a maj6 chord
the fifth chord seems just a min7 with a suspended fourth....there's no 9th there. The Ab in that chord is actually a minor sixth (C, Ab) . If you want a sharp fifth, it would be spelt : C, Gsharp. Whether you call it C and Gsharp or C and Ab , they are the same pitches, but the interval is different
anybody, if I am wrong, don't hesitate to let me know.....I am here to learn 
Last edited by avatars_the_titletrack; 04/05/10 09:45 AM.
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Avatars, yes, as I pointed out, there are some notes that appear to be missing in some of those chords, and perhaps Alan can explain the method he was using to spell those chords.
About your last point, the last chord (what you called the fifth, which is the sixth?) with that Ab:
When you have two notes that sound the same, like G# and Ab, they are called enharmonic equivalents.
In this spelling, C, Eb, Ab, Bb, technically the #5 Alan refers to is indeed a G#, not an Ab. However, it would drive me crazy to read a chord notated C, Eb, G#, Bb. When writing sheet music, it is a good idea not to mix sharps and flats in the same chord if you can avoid it. Of course, it depends somewhat on what key you are in and what the other chords in the measure might be.
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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I'm playing some Chick Corea stuff at the moment, and can't figure how to input the Ebmaj7#4 chord (Eb-A-D-G voicing). (e.g. I Em7 Ebmaj7#4 I Dm7 I ).
Any suggestions?
iMac M1 24" 16GB/1TB/ Sonoma
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Hi Svenne,
Looks to me as I finger your notes on the guitar that it figures into a Cmi6/9 chord.
P.S. I rather like the suggestion as to picking your notes from a list. However, I think it may confuse some people because they may not know which notes actually build the chord and you may lose them.
Last edited by RickeG; 04/05/10 11:35 AM.
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Svenne, a #4 is the same note as a #11, just down an octave. Try EbMaj7#11. Of course, since you can't enter it that way (see above), use EbMaj9#11, assuming the occasional F doesn't bother you.
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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yes..except from the C, an option for a maj7b5 would be nice.
iMac M1 24" 16GB/1TB/ Sonoma
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You can enter Maj7b5 in BIAB.
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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Sorry i misspelt the sus maj7 that should be C, F, G, B, as you've all pointed out. And the diminished chord should of course have read as C, Eb, F#. The Cmaj7 add6 is also C, E G A B...and the m9#5 should have a D in there...Cant believe I made all these errors !! Not one of my most accurate posts..must have been too early for me this morning.. but you all get the general idea.!
I could also have mentioned m7 add6 as well as m7b13, where you have a full m7 voicing with the natural 5th and then the b13 added on top.
The list of extended dominants may seem well stocked with options but there's some strange anomalies in there. 7#9#11 isn't a valid chord for some reason and neither is 7b9#9 which i see quite a lot in modern charts.
Regards
Alan
Last edited by alan S.; 04/05/10 07:25 PM.
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That's an interesting applet that Notes Norton has in mind. I was thinking of a keyboard layout with the chance to specify the range of a given voicing as well as the notes.
How this would affect files transferred between users without an accompanying voicing file is anyones guess. I often wonder how this kind of thing works over on the Jammer Pro platform where they've had this facility for several years now. In BIAB It would likely show up as 'invalid chord' but then maybe the program could be designed to default to the nearest available chord from the current list.
My own interest tends towards incomplete and somewhat abstract chords so omitting notes is just as important as the ability to add them. Ideally I'd like to have every kind of three-note combination available to me.
Anyway thanks to all for the interest shown.
Regards
Alan
Last edited by alan S.; 04/05/10 07:29 PM.
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Alan, no problem. Let's see, isn't a minor 7th with added 6th just a minor 13th?
I also like Note's idea to construct a chord. It could work for MIDI. I wonder what would happen with Real Tracks, though. In order for Real Tracks to play a chord, it has to recognize the chord and a performer had to have recorded a segment using it. From beta testing, when I discovered a chord type BIAB had not yet recognized, the piano and guitar left it tacet; only the bass played.
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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Quote:
About your last point, the last chord (what you called the fifth, which is the sixth?) with that Ab:
When you have two notes that sound the same, like G# and Ab, they are called enharmonic equivalents.
In this spelling, C, Eb, Ab, Bb, technically the #5 Alan refers to is indeed a G#, not an Ab. However, it would drive me crazy to read a chord notated C, Eb, G#, Bb. When writing sheet music, it is a good idea not to mix sharps and flats in the same chord if you can avoid it. Of course, it depends somewhat on what key you are in and what the other chords in the measure might be.
ooops, yes I was referring to the sixth chord, not the fifth chord.
That's right, the Ab should actually be called Gsharp ( my keyboard seem not to have the sign for 'sharp' , which adds to confusion)
but yes, mixing sharps and flats just to name correctly an enharmonic note, would be unnecessary...I am no jazz musician, but I imagine that especially in jazz, notation has to be kept as simple as possible so that the musicians can interpret and improvise things without getting bogged down too much with written paper stuff
anyways, sorry about the topic change. I just am always interested in music theory stuff and tend to mention things that I have learned so that I don't forget them
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Quote:
Sorry i misspelt the sus maj7 that should be C, F, G, B, as you've all pointed out. And the diminished chord should of course have read as C, Eb, F#. The Cmaj7 add6 is also C, E G A B...and the m9#5 should have a D in there...Cant believe I made all these errors !! Not one of my most accurate posts..must have been too early for me this morning.. but you all get the general idea.!
Alan
don't feel bad,you are not alone....I often read my posts back and I can't believe I made all that confusion. Let's remember that music theory is not exactly a very intuitive thing...also, writing about it ,is more difficult and abstract than while you illustrate things with pen, paper and your instrument all at hand.
With only words and thinking brain involved, I find I make a lot of errors 
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