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Is it possible to change chord bass notes just for the bass instrument only and leave the piano chords unchanged? Like the first four measures of My Funny Valentine: Cm - CmMaj7/B - Cm7/Bb - Cm6/A.
Last edited by Jan R; 02/06/24 06:39 AM.
Thanks,
Jan R.
piano: Hammond Skx Pro
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guitar amp: Boss Katana 50 MKII
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Is it possible to change chord bass notes just for the bass instrument only and leave the piano chords unchanged? Like the first four measures of My Funny Valentine: Cm - CmMaj7/B - Cm7/Bb - Cm6/A. As far as I could tell, the slash chord is only supposed to affect the bass note. There is a Song Settings Option: Ignore Slash Root of Slash Chords (eg C/E), except Bass Track: If this is set, the RealTracks other than the Bass track will not play the slash root of chords. For example, the RealTracks will play C instead of C/E. What version of BiaB are you using? ![[Linked Image - Only viewable when logged in]](https://www.pgmusic.com/forums/ubbthreads.php?ubb=download&Number=27318&filename=2024-02-06_21-46-45.jpg)
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
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Also, are you using RealTracks or MIDI?
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Thanks,
Jan R.
piano: Hammond Skx Pro
guitar: Ibanez LGB30
guitar amp: Boss Katana 50 MKII
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Thanks for the tip, but B bass note with C root note in chord is not what I want. I can live with the situation that the piano chords will change and follow the slash bass notes.
Is it possible to use piano chords without the root note in case of changing the bass note?
Thanks,
Jan R.
piano: Hammond Skx Pro
guitar: Ibanez LGB30
guitar amp: Boss Katana 50 MKII
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I am using BiaB 2024. I discovered that every time I generate th song the chords have or have not the slash bass note. So: Cm6/A have A bass note in the chord or C note as root.
Thanks,
Jan R.
piano: Hammond Skx Pro
guitar: Ibanez LGB30
guitar amp: Boss Katana 50 MKII
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It might depend on whether you have Natural Arrangement turned on. In this progression, there is such a strong downward movement in the bass line that most musicians would recognize it in the last chord and play the A in the bass, even without the slash root. BIAB has some intelligence and does the same.
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Is it possible to change chord bass notes just for the bass instrument only and leave the piano chords unchanged? Like the first four measures of My Funny Valentine: Cm - CmMaj7/B - Cm7/Bb - Cm6/A. I am not entirely sure what you are doing here, but you are playing my song.  (well kinda...). So let me pipe in a little on this topic to see if I can muddy the waters a bit more. I don't feel these chords will do justice to the arrangement. I have attached below the Rogers/Hart chordsheet. I believe the authors intended to use chord Inversions over the first four bars and not slash chords as BIAB interprets them. And yes, I am a strong believe that slash chords are different than chord inversion (we have had this discussion here in the forum in the past, and no one has conviced me otherwise). The left hand of the piano player should be playing the Root note irregardless of the inversion in the right hand. The chart shows the left hand playing the bass note - which is the root of the chord. In this case, C over each chord. While the right hand is playing a four note chord based on the first or second inversion. I don't think a BIAB RT piano can or will play with these specific voicings either with or without the slash chords. However, I believe a midi version can to the job. Having said this, I understand we are likely talking about what does the Bass Player do with these. BIAB RT bass will play what ever notes the artist plays when he sees the chord - which will not necessarily be what you want and certainly will not be the notes shown in the slash chord. So in terms of what the bass should play for this tune, I need to defer to our Bass Players. Perhaps one of them can weigh in on this topic. I guess the bottom line is BIAB is not really intended to reproduce any song with specific neuances, licks, runs or motiffs. But we try anyway. I just don't feel that the / chords in BIAB help in this case. I do see the option pointed for the slash chords to only effect the bass player, but I have never used that. Sorry if this is of no help at all. ![[Linked Image - Only viewable when logged in]](https://www.pgmusic.com/forums/ubbthreads.php?ubb=download&Number=27319&filename=Screenshot MFV.png)
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Thank you for your extensive explanation. I understand. I am an amature and play music for hobby. I play piano/hammond and jazz guitar with Biab as accompanist. For piano and hammond I use the bass and drums parts, playing guitar I use bass, drums and piano parts.
Last edited by Jan R; 02/06/24 11:25 AM.
Thanks,
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guitar amp: Boss Katana 50 MKII
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What is the key signature of your song? BiaB does not allow a slash note for a chord in the key signature. Not sure if this is related. For example, if the key signature was F, it will not allow F/Eb. EDIT: Matt: Thanks for the correction. Yes F/F (it was too early in the morning here  ) The above should have stated F/F.
Last edited by AudioTrack; 02/06/24 06:08 PM.
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Edit: post was fixed.
And Dan, I assume the chords give originally were from some Internet source pretending to give accurate chord changes. There are far too many of those out there.
Last edited by Matt Finley; 02/06/24 08:17 PM. Reason: The typo was fixed. No need for my prior comment.
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And Dan, I assume the chords give originally were from some Internet source pretending to give accurate chord changes. There are far too many of those out there. Lets assume these chords were are correct (or someone thought they were). And lets assume Key of Eb (as in the chart). That gives us: Cm - CmMaj7/ B - Cm7/ Bb - Cm6/ A <-- Notice this is actually a Cm69 - nice! The bass notes of A and B are not in the Key of Eb! They would be Ab and Bb. I can only imagine how those bass notes would clash with the scale. But who knows what some jazz bass guy may comeup with.
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And Dan, I assume the chords give originally were from some Internet source pretending to give accurate chord changes. There are far too many of those out there. Lets assume these chords were are correct (or someone thought they were). And lets assume Key of Eb (as in the chart). That gives us: Cm - CmMaj7/ B - Cm7/ Bb - Cm6/ A <-- Notice this is actually a Cm69 - nice! The bass notes of A and B are not in the Key of Eb! They would be Ab and Bb. I can only imagine how those bass notes would clash with the scale. But who knows what some jazz bass guy may comeup with. The bass notes would not clash with the chords as they are in the chords, thus it would have nothing to do with the scale, i.e. CmMaj7 = C-Eb-G-B and Cm7 = C-Eb-G-Bb . That is like saying G# in an E chord clashes with the key of C, think of the song 5 foot 2. Or am I reading you wrong? Note that bass line, B-Bb-A, can be a typical half-step bass line. Also Cm6/A = C-Eb-G-A so how do you get a Cm69 (C-Eb-A-D) out of it?
Last edited by MarioD; 02/06/24 04:07 PM.
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Dan,
In the key of C minor, B and A are melodic tones. They feature in the descending melodic minor mode of C minor, and they are commonly found in descending movement in minor-key melodies.
This progression is similar to an arrangement I've seen of the song "Feelings" that goes... Em EmM7 Em7 Em6 C.
The semitone descending harmonic movement of E-D#-D-C#-C that's present in this progression is often given to the bass and written as...
Em - Em/D# - Em/D - Em/C# - C
My experience is that if the bass line uses the notes for descending, it's usually not necessary to double them in one of the upper harmony parts.
I don't know if this is useful information but I thought I'd pass it on in case it's useful.
--Noel
MY SONGS...Audiophile BIAB 2026
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.............................
This progression is similar to an arrangement I've seen of the song "Feelings" that goes... Em EmM7 Em7 Em6 C.
The semitone descending harmonic movement of E-D#-D-C#-C that's present in this progression is often given to the bass and written as...
Em - Em/D# - Em/D - Em/C# - C
.............................
--Noel That also is the same type of progression that we used in Summertime, i.e. Am-AmMaj7-Am7-Am6 followed by Dm-DmMaj7-Dm7-Dm6 then E9-F9-E9. And like your scenario the bass added the various notes via a walk down while everyone else played the minor chord. It is a quite common chord progression.
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OK, you guys are double teaming me...  but I love it! Thanks for putting me in my place. There is no shame in my music game. Ya, I was pretty focused on the Eb Major scale and did some of the math in my head. Mario: The bass notes would not clash with the chords as they are in the chords, thus it would have nothing to do with the scale, i.e. CmMaj7 = C-Eb-G-B and Cm7 = C-Eb-G-Bb .
Also Cm6/A = C-Eb-G-A so how do you get a Cm69 (C-Eb-A-D) out of it? CmMaj7 = C-Eb-G-B <-- Yes, and one of the bass notes in the progession is a B which is not in the Eb major scale. On review I now recognize the error of my ways. The mM chord is not in any major or natural minor scale. Just as this chord progression is based on a different scale than the Major or natural minor. My bad. Second - Again,it is a Cm69 based on the notes, Root - C, Eb is the flat 3rd, A is the 6th, in the sheet music the G is omitted which leaves us with D which is the 9th - hence Cm69. That is how I got it. How correct I am still needs to be determined. Noel: In the key of C minor, B and A are melodic tones. Bingo, this is obviously an important point I missed. I will do better next time. Thanks for keeping me honest. And by the way, this certainly is one of the most beautiful sounds ever written. I am glad we could look closer at this together. Dan
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That also is the same type of progression that we used in Summertime, It is a quite common chord progression. Yes, Excellent example, I played JJ's version of Summertime. But my understanding was that this is the Harmonic Minor not the melodic? Or it could be that asending/desending stuff Noel mentioned used to confuse us all. But I would argue that it is not necessarly a "common" progression since chords based on the major and natural minor scale are everywhere. Dan
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................................
Second - Again,it is a Cm69 based on the notes, Root - C, Eb is the flat 3rd, A is the 6th, in the sheet music the G is omitted which leaves us with D which is the 9th - hence Cm69. That is how I got it. How correct I am still needs to be determined.
...............................
Dan OK I'm lost, as usual! In the sheet music I have seen the G present. The same when playing chords. And yes you can leave the 5th out of the chord. However if you do leave the 5th out of the chord you get C-Eb-A. Where did you get the D? In my world, right or wrong, Cm6 and Cm69 are two different chords and leaving out the 5th does not change the chord.
Last edited by MarioD; 02/06/24 06:09 PM.
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Trevor, I think that's a typo. It won't allow the same slash root as the chord, like F/F, but your example can be entered. Correct. I have amended the post.
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OK I'm lost, as usual! Where did you get the D? Here it is? ![[Linked Image - Only viewable when logged in]](https://www.pgmusic.com/forums/ubbthreads.php?ubb=download&Number=27322&filename=Here it is.png)
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Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- 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
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- 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)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
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