... I think by then we've gone right through the list and it's back to the Maj7 again, though I accept that's a weak argument on my part.
No, it's pretty good, I just thought the same thing myself! But then I wondered about the "mismatch cases" without such octave doubling. Maybe at that point you just get weird names, like the "Frankfurt Heliotrope".
I think 13 is enough to keep track of. And yes, Gordon, add X means only that is X added to a triad, and other normally implied notes are not there. So I would expect Gadd9 to not have the seventh of the chord. Likewise, I expect, as you do, that a 13th chord can have, but may not have, a 7, 9 and / or 11 in it. But it almost certainly will sound the seventh, to give it that "flavor".
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.
Now I'm working on something in the Charles Ives tradition called the "New England Octave", where you have two notes that are an octave apart but played in different towns.
But couldn't chords greater than n13 be called poly chords? Like CMaj7:DMaj7b9, i.e. C-E-G-B-D-A-C#-Eb. This would make a good cluster chord.
Oh, man, this is so interesting, it raises deep philosophical issues about the nature of musical reality (and I am not being facetious.)
My chord pictured above can be regarded as a C Major with a Bb Major sitting on top of it.
Does that mean that's what it is, really?
Yes that chord could be called a C:Bb poly chord.
Music theory for a guitarist can be very frustrating at times. We can only play up to six notes at a time while mostly we play only 3 to 5 notes, at least in jazz. So your your C:Bb poly chord I could play C-E-Bb-D-G, which is really a C9! Or I could play a Bb-D-F-C, a Bb add9.
I run into this"conflict" a lot when I jam with JonD. JonD is a pianist/keyboardist with lots of theory. Thus what I would call a chord's name he usually adds a number of other chords that contain those 3-5 notes I played on my guitar. We do have fun together trying to find the right chord for our progression. This is where BiaB is a God sent piece of software, i.e. playing around with chords and chord progressions.
As I have told my students learn music theory but don't let it get in the way of your playing. If you ain't playing from the heart then what good is it? YMMV
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As I have told my students learn music theory but don't let it get in the way of your playing. If you ain't playing from the heart then what good is it?
Nothing wrong with playing from your head.
If I look at that chord as a polychord comprising a C Major and a Bb Major, it may give me ideas. If I'm playing a guitar solo, I may play along with it as if it were a plain Bb Major instead of a crazy C Something. If I'm writing parts, I may break it up into a C Major for the piano and a Bb Major for the horns.
That kind of idea comes straight out of my cognitive head, in response to the acquisition of an interesting piece of abstract theoretical knowledge. Some might find this cold and cerebral – it sure isn't watching a sunset from the door of a moving freight train – but it warms my own heart, and I'm sure someone could put it to good musical use.
As I have told my students learn music theory but don't let it get in the way of your playing. If you ain't playing from the heart then what good is it?
Nothing wrong with playing from your head.
If I look at that chord as a polychord comprising a C Major and a Bb Major, it may give me ideas. If I'm playing a guitar solo, I may play along with it as if it were a plain Bb Major instead of a crazy C Something. If I'm writing parts, I may break it up into a C Major for the piano and a Bb Major for the horns.
That kind of idea comes straight out of my cognitive head, in response to the acquisition of an interesting piece of abstract theoretical knowledge. Some might find this cold and cerebral – it sure isn't watching a sunset from the door of a moving freight train – but it warms my own heart, and I'm sure someone could put it to good musical use.
I agree with you in that there is nothing wrong with your approach and in fact I do the same thing. My point to my students was when learning theory it is OK to practice it but don't let it get in the way. For instance if they learn a C Dorian mode or an Am Pentatonic scale don't just run the scales while playing a song. IMHO there is nothing worse then having a musician rapidly playing a bunch of scales or arpeggios and not having any melody or feeling (heart) in the lead. YMMV
It takes courage for a man to admit his wife was wrong.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
IMHO there is nothing worse then having a musician rapidly playing a bunch of scales or arpeggios and not having any melody or feeling (heart) in the lead.
I read somewhere that John McLaughlin of Mahavishnu Orchestra played guitar using 3 minor pentatonic modes bolted together. He tried to offset the often vacant intellectuality of this by blaming it on The Music (supposedly a spiritual force channelling itself through him) and choking out a lot of screaming dissonant notes. But even as a youth I was not fooled.
Wow, not sure the C9 was ever clarified? This tread really took off.
As a guitarist this is a very popular jazz chord and it is played as a dominate chord, R, 3, b7, 9. Like Mario said, for us guitar players we generally use only 3 note chords except when its Jazz and we use 4 note chords like C9 .
Otherwise, I would consider the voicing for Cadd9 or C2 to be ambiguous unless further clarified. On piano, I would likly play a C triad and add the D as the high note and then look around to see if I get any strange looks. But thats just me.
I reckon a C major triad with a Bb major triad stacked on top is C11.
As I mentioned earlier, though, all those extensions could be flattened or sharpened. Each of them can then be written in a way that someone else could play them, but even then, the voicing can vary.
I once heard someone say "so we're adding extra noteds to the chord and that can only make it better, right?" Erm, well, I see his point, but I think I don't entirely agree :-)
But then one persons tension is another's dissonance. We're balancing arguably boring against comfortable against surprising against shocking.
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Wow, not sure the C9 was ever clarified? This tread really took off.
As a guitarist this is a very popular jazz chord and it is played as a dominate chord, R, 3, b7, 9. Like Mario said, for us guitar players we generally use only 3 note chords except when its Jazz and we use 4 note chords like C9 .
Here is what this old man was taught many years ago, from the lowest to the highest note: Cadd9 = C-E-G-D C2 = C-D-E-G Csus2 = C-D-G
The confusion comes in when the Cadd9 and the C2 chords are in different inversions, then you might not be able to tell which is which.
YMMV
Last edited by MarioD; 12/28/2104:01 PM.
It takes courage for a man to admit his wife was wrong.
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Band-in-a-Box 2026 Video: AI Stems & Notes - split polyphonic audio into instruments and transcribe
This video demonstrates how to use the new AI-Notes feature together with the AI-Stems splitter, allowing you to select an audio file and have it separated into individual stems while transcribing each one to its own MIDI track. AI-Notes converts polyphonic audio—either full mixes or individual instruments—into MIDI that you can view in notation or play back instantly.
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MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
MIDI SuperTracks Set 46: Piano & Organ
Instrumental Studies Set 24: Groovin' Blues Soloing
Artist Performance Set 19: Songs with Vocals 9
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Instrumental Studies 25 - Soul Jazz Guitar Soloing
Artist Performance Set 20: Songs with Vocals 10
RealDrums Stems Set 10: Groovin' Sticks
SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Join Tobin as he takes you on a tour of the new user interface in Band-in-a-Box® 2026 for Windows®! This modern GUI redesign offers a sleek new look with updated toolbars, refreshed windows, and a smoother workflow. The brand-new side toolbar puts track selection, the MultiPicker Library, and other essential tools right at your fingertips. Plus, our upgraded Multi-View lets you layer multiple windows without overlap, giving you a highly flexible workspace. Many windows—including Tracks, Piano Roll, and more—have been redesigned for improved usability and a cleaner, more intuitive interface, and more!
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Introducing XPro Styles PAK 10 – Now Available for Mac Band-in-a-Box 2025 and Higher!
We've just released XPro Styles PAK 10 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 28 RealTracks and RealDrums!
Few things are certain in life: death, taxes, and a brand spankin’ new XPro Styles PAK! In this, the 10th edition of our XPro Styles PAK series, we’ve got 100 styles coming your way! We have the classic 25 styles each from the rock & pop, jazz, and country genres, and rounding out this volume's wildcard slot is 25 styles in the Praise & Worship genre! A wide spanning genre, you can find everything from rock, folk, country, and more underneath its umbrella. The included 28 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
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!
Special offers until December 31st, 2025!
All the XPro Styles PAKs 1 - 10 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
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.
Introducing Xtra Styles PAK 21 – Now Available for Mac Band-in-a-Box 2025 and Higher!
Xtra Styles PAK 21 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest Xtra Styles PAK installment—the all new Xtra Styles PAK 21 for Band-in-a-Box version 2025 (and higher)!
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!
Special offers until December 31st, 2025!
All the Xtra Styles PAKs 1 - 21 are on special for only $29 each (reg $49), or get all 21 PAKs for $199 (reg $399)! Order now!
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.
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