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This is part of discussing theory. I never said a group of notes was not a chord. You quoted me. But again, three (or even 4) notes does not necessarily define a chord, Note the word define. You actually said in your example that what the bass plays helps define it .. Suddenly E-G is not a 'C' or Em but a Dsus .. That is what Mario and I have said multiple times ... Again, even more important in defining it is What key is the song? (in your last post you stated the key signature in your example, so I think you're getting closer) What were the chords before/after? Knowing those two things gets you a lot closer to truly defining the chord. In certain situations your example could be right or wrong (theoretically) as to how to define that 'C' (or Em) over D chord.
Last edited by rharv; 01/11/26 12:15 PM. Reason: clarity
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...................................................
My understanding is that any combination of 2 or more notes does form a chord.
In Western music theory, a chord is a group of notes played together for their harmonic consonance or dissonance.
--Wikipedia Technicality it takes three different notes to form a chord, from https://theoryandsound.com/chord-construction/ and years of music theory learning on my part. "Dyads A Dyad is a set of 2 notes. Technically, they are not considered chords by strict music theory definition (which is 3 or more different pitches), however they can imply the character of chords from the interval between the notes." Every time I hear the term "power chord" the hair stands up on the back of my neck! A 1 & 5 of a scale does not make a chord! Dumb guitarist 
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[quote=Bass Thumper]................................................... Every time I hear the term "power chord" the hair stands up on the back of my neck! A 1 & 5 of a scale does not make a chord! Dumb guitarist The 1 - 5 intervals actually does have three notes. A power chord is a simplified version of a full chord, using only two notes: the root note and the fifth note from the corresponding scale...BUT the intermodulation of the perfect interval makes the spectrum of the sound expand in both directions, and with enough distortion, a new fundamental frequency component appears (essential a third note -not a 3rd- but rather an octave lower than the root note (i.e., root, root, fifth) of the chord played without distortion, giving a richer, more bassy and more subjectively "powerful" sound than the undistorted. Just another dumb guitarist! :eek 
Last edited by DrDan; 01/12/26 06:19 PM.
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A 1 & 5 of a scale does not make a chord! Dumb guitarist Power chords are useful because they are ambiguous, and only imply the chord. You can play an A5 for a A major or A minor, because they both work equally well/poorly. And they're typically played on the low guitar strings because... well, harmonics. It's not quite the same when a ukulele plays it - you can really tell something is missing.
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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[quote=Bass Thumper]................................................... Every time I hear the term "power chord" the hair stands up on the back of my neck! A 1 & 5 of a scale does not make a chord! Dumb guitarist The 1 - 5 intervals actually does have three notes. A power chord is a simplified version of a full chord, using only two notes: the root note and the fifth note from the corresponding scale...BUT the intermodulation of the perfect interval makes the spectrum of the sound expand in both directions, and with enough distortion, a new fundamental frequency component appears (essential a third note) an octave lower than the root note of the chord played without distortion, giving a richer, more bassy and more subjectively "powerful" sound than the undistorted. Just another dumb guitarist! :eek This dumb guitarist is sticking by the "strict music theory definition" of a chord. {edit} IMHO calling just two notes a chord is just as bad as Fender calling tremolo vibrato and visa versa. I'm not trying to start a war between friends but even real 3 note chords have harmonics and we don't call them anything but triads do we. I say this in all due respect to you Dr. Dan.
Last edited by MarioD; 01/11/26 06:37 PM.
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A 1 & 5 of a scale does not make a chord! Dumb guitarist Power chords are useful because they are ambiguous, and only imply the chord. You can play an A5 for a A major or A minor, because they both work equally well/poorly. And they're typically played on the low guitar strings because... well, harmonics. It's not quite the same when a ukulele plays it - you can really tell something is missing. Yes, I fully understand this but I was taught and I still believe the "strict music theory definition" of a chord. I have played Dyads many times and yes I have called them the false power chord nomenclature. I have to as if I said Dyad to most guitarist I would get the deer in the headlights look!
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Also, in BassThumper's example of the Dsus2 chord; depending on the chords around it, it could be an A7/D (implying the root and third) .. actually likely in some scenarios
So it's still a bit 'ambiguous' without the other information (chords around it)
As for power chords; it usually is 3 notes; root, 5th and octave above root! <grin>
/sorry, had to for the lulz
Last edited by rharv; 01/11/26 08:13 PM.
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Yes, I fully understand this but I was taught and I still believe the "strict music theory definition" of a chord. I agree. Despite the name, they're not chords. In the category of implied chords, it's sufficient in pop and jazz for the guitarist to play the root, third and seventh of the chord. That's because unlike ambiguous voicings, the third makes it enough to determine the chord type (major or minor) and the seventh the harmonic function. Heck, you can even just play the third and seventh, if you've got a bass player on the root. The implication is that the fifth is a perfect fifth, of course.
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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Hmmm, this is getting interesting. FWIW according to Adam Neeley Simply put, musical chords are two or more notes played together harmoniously. While you can play any chord on your musical instrument, not all of them will result in a melodic rhythm and could leave you with dissonance.A dyad is a two-note chord that’s commonly referred to as an interval. Dyads refer to the variation of two pitches, and they’re measured half steps.As usual, his video is informative. What is a chord? I'm just a student of music and the bass and would like to know what the truthful/music theory answer to this is. The definition of a chord seems quite fundamental to me. Why the controversy?
Last edited by Bass Thumper; 01/12/26 09:07 AM.
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Hmmm, this is getting interesting. FWIW according to Adam Neeley Simply put, musical chords are two or more notes played together harmoniously. While you can play any chord on your musical instrument, not all of them will result in a melodic rhythm and could leave you with dissonance.A dyad is a two-note chord that’s commonly referred to as an interval. Dyads refer to the variation of two pitches, and they’re measured half steps.As usual, his video is informative. What is a chord? I'm just a student of music and the bass and would like to know what the truthful/music theory answer to this is. The definition of a chord seems quite fundamental to me. Why the controversy? Because somebody called two notes played simultaneously a chord but based on music theory that has been taught for years it takes three or more notes to form a chord. https://www.musicpandit.com/resources/articles/chords/
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Listen to Adam Neeley. 
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IMHO If two notes are a chord, that chord is pretty ambiguous.
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I'm just a student of music and the bass and would like to know what the truthful/music theory answer to this is.
The definition of a chord seems quite fundamental to me. Why the controversy? Because not everyone agrees on definitions, and things change over time. Music theory that doesn't represent actual practice isn't that useful, is it? A "two note chord" is generally not considered a chord, because it's an interval, and can only imply a full chord. But if you live in a world where that ambiguity is considered a feature and want to treat a power chord as a chord despite the missing 3rd, that's fine. After all, there are plenty of "real" chords - diminished chords, I'm looking at you - that are still ambiguous but accepted as chords. People use power chords every day, without wanting to add the 3rd in, and don't consider it missing. The overtone series will cause a major 3rd to be created via sympathetic vibrations anyway.  So if you want to call it a chord, fine. Just be aware that's not the definition accepted by most people, and don't lose any sleep over it.
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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Because somebody called two notes played simultaneously a chord but based on music theory that has been taught for years it takes three or more notes to form a chord. Mario, David and rharv, with all due respect I must cast my lot with Adam Neely, Wikipedia and Dr Dan unless proven otherwise because it comes down to knowledge and trust. These 3 sources conclude that a chord is made up of 2 or more pitches. Adam Neeley chooses his words very carefully, is well-studied, is highly credentialed (Berklee College of Music and the Manhattan School of Music) and has lots to lose if he puts out bogus info. The guy is a music geek, and we need geeks! I’m unaware of anyone else on the internet in his lofty category. Do you? Wikipedia also has strong credentials, is fact-checked by experts worldwide, is thoughtfully edited and is trusted by millions around the world. Dr Dan is a smart guy too, I’ve never seen him give wrong info, and he chooses his words carefully. Although I don’t know his music credentials per-se, clearly he is well-studied in the subject. What these 3 sources recognize is that any music theory truth goes beyond and transcends what one was taught by a childhood music teacher, or what one was taught in high school, or what one’s personal opinions may or may not be or even less-than-accurate websites that are casually uploaded. Music theory is a well thought out and established set of principles that over time “get written in stone”. I think I can say this even though I’m a beginner student of the subject myself. Like I say, if someone can convincingly show credible evidence that a 2-pitch dyad can never be a chord, I’m all ears. Power chords (1-5) immediately come to mind. Keep in mind, I’m not saying that said chord must be pleasing to the ear, unambiguous, make geometric sense on a guitar fretboard or any other artificial restriction. If anyone disagrees, here is something to ponder. What “rule” in music theory prevents 2 pitches from being labeled a chord?
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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IMHO If two notes are a chord, that chord is pretty ambiguous. rharv, I think you are finally beginning to get it (I think). Nobody is saying that every chord must be unambiguous for it to be labeled a chord, certainly not me. As a matter of fact, I wouldn't be surprised if certain musicians/composers intentionally write ambiguous, discordant, unresolved chords into their music. I would say that ambiguous chords are every bit a chord as unambiguous ones. Think of it this way, just because an automobile fails your State inspection, doesn't mean that it's somehow not an automobile. In fact, that automobile could be on its roof in a gully and half rusted and still be an automobile.
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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If anyone disagrees, here is something to ponder. What “rule” in music theory prevents 2 pitches from being labeled a chord? The "rule" is the definition, which makes a distinction between an interval/dyad and a chord/triad. But music theory always trails practice, and it's an oft-cited maxim that when a style or practice can be codified using music theory, that style is dead. It's also well known that much music theory that claims to capture the "rules" (like those of Bach's counterpoint) often is a list of that author's own biases, rather than an accurate model of actual practice. The crux of Neely's argument is that functionally, a power chord acts like a chord, even though it lacks a third. It provides enough harmonic information to act as a complete chord. He notes that it gains an audible third via distortion and harmonics, so the third is present even in the player didn't play the note. But it's more than that - he argues the term "chord" should describe how a chord behaves in practice, and not be bound by theory texts. The fact that we call it a "power chord" despite only being an interval supports this. So Neely - and others - argue for moving away from the classical definition because it doesn't reflect actual practice. But the classical definition still has value. Note that we aren't arguing for an interval like the perfect sixth to be treated as a chord. And in practice, power chords are almost always played on distorted guitars or basses. Neely agrees that it acoustically gains the "missing" third, which is why it can be treated as a chord. In short, Neely argues that if music theory doesn't represent common practice, it has little value. Yet he acknowledges that in practice, a power chord gains the "missing" third. And I think that somewhat undercuts the argument that a power chord is a dyad or interval.
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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IMHO If two notes are a chord, that chord is pretty ambiguous. rharv, I think you are finally beginning to get it (I think). Nobody is saying that every chord must be unambiguous for it to be labeled a chord, certainly not me. As a matter of fact, I wouldn't be surprised if certain musicians/composers intentionally write ambiguous, discordant, unresolved chords into their music. I would say that ambiguous chords are every bit a chord as unambiguous ones. Think of it this way, just because an automobile fails your State inspection, doesn't mean that it's somehow not an automobile. In fact, that automobile could be on its roof in a gully and half rusted and still be an automobile. Trust me I get it. You are starting down the theory road, my tracks in the sand ahead of you have been blown over for decades. But I still learn to this day. I chose to participate in this thread to learn what I could from it. I'm not arguing any of this, since it is theory and not a rule, and even rules can be broken. I spent years in college (and after) studying theory, arranging, composing etc tutored by some very knowledgeable people. Not Berklee, but UNT & UofM level. In fact I was raised with it since I could first learn. I did not get a choice of first instrument to learn; it was piano (at 5) so I could learn theory not just notes. I was lucky and got a head start on it compared to many. Music is kind of a big deal in my family <grin> My youngest brother is a PHD and has been asked to conduct/teach in Europe, Carnegie, etc Many years later we still discuss theory and learn from each other. That's what it's all about! Having some understanding of it definitely helps when discussing it, and he is not shy to correct me at times (and neither should anyone else be)
Last edited by rharv; 01/12/26 03:25 PM.
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Note that we aren't arguing for an interval like the perfect sixth to be treated as a chord. And in practice, power chords are almost always played on distorted guitars or basses. Neely agrees that it acoustically gains the "missing" third, which is why it can be treated as a chord.
. With all respect! Please forgive me for even mentioning this. I hate to bring it up, but I am a music nerd if nothing else! I actually tried to avoid this whole discussion because this general topic can drive people crazy (when it really should not). And I agree everyone has been very polite. But, as incorrectly indicated above, the 6th is not perfect. It is either major or minor. Only the unison, forth and fifth are perfect. And that point about "...Neely agrees that it acoustically gains the missing third" does not make sense to me and I did not hear him say that? Finally, regarding my credentials which were questioned above, I have three certificates from Berklee, two in Music Theory and one in Jazz Guitar performance [at the moment I can not find that 3rd one, maybe my memory is mistaken, but I have the other two on my wall along with my PhD. I have to admit, those records, plus a buck, would get me a cup of coffee at McDonalds (with the Sr Discount) and not much more. But I am proud of my studies. And again, more music nerd than academically trained in music.
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And again, more music nerd than academically trained in music. OK, I admit, that one made me giggle
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With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
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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