In the «CERTAZA.STY» the horns do not acknowledge the B-natural in Ebmaj7#5 chords.

In my arrangement of a song, there is a bar that looks like |Ebmaj7 / Ebmaj7#5 /|, but the horns play (a.o.) Bb through the whole bar.

I have a suspicion that I have heard this in other horn-styles as well. Anyone else with this experience?

Brgds,
Tonnie

I suspect that the maj7#5 chord was not recorded as a RealTrack, so it is reverting back to just maj7 (which would pick up the wrong 5th note).

If the other tracks are playing it okay, you might try generating the other tracks with the maj7#5 chord in place, then freeze those other tracks and just enter Ebaug for the horn track. The horns won't play the maj7 (the D), but you should be able to get the B-natural (Eb - G - B) that way.

Otherwise, I don't see another workaround if that chord wasn't recorded. A MIDI style would include it, but the RealTracks don't support every supportable chord.

Obviously, if you freeze the tracks, you won't get a slightly different arrangement each time, but that's the only work-around I can think of.

I remember hearing this many years ago in the early days of RealTracks. I speculated as John did, that they just hadn't recorded a Maj7#5 chord for that particular RealTrack.

The other possibility is that such a chord was recorded, but it is mapped to the wrong chord in that RealTrack, an easy fix if reported to PG Music.

How many different RealTracks do this? In other words, change the RealTrack, play the same song, and see if it picks up the #5. If it does, then we know a fix is required for the offending RealTrack.

Thanks!

Will take it up once I am back from a short holiday.

Brgds,
Tonnie

Hi - As the "Crooner Horn Guy" I can confirm that no Maj7#5 chords were recorded for this style.
In your case, For your Ebmaj7#5, I suggest you choose a G (major triad) for the horns as a workaround.
Good luck!
Jim Clark

P.S. Looking at your thread more closely, since you're going from Ebmaj7 to Ebmaj7#5 try a Gm in place of the Ebmaj7 and Gmaj for the Ebmaj7#5 and that way you may find better voice leading in the horns. Just a thought.

There you have it from the man himself.

Jim,

Your sax tracks are excellent!

Regards,
Noels

Thank you Noels!

Thanks, Jim.

You're welcome, Matt.

Jim,

Thanks for your tip!

I will use G5#/Eb (G, B, D#= Eb), which will probably get as close to Ebmaj7#5 as I can get.

Will try it tomorrow, to see what the horns will be doing!

Brgds,
Tonnie

Sounds good Tonnie. If I understand you correctly, you want an EbMaj7#5 which includes Eb-G-B-D.
If that is the case,you should try G/Eb not G#5/Eb. Good luck!
Jim

Jim,

Thanks for your tip, but it did not work, although I tried plain G and G/Eb, G7#5/Eb, etc.

I could however change the notes manually, but that also did not give me what I wanted.

So now, I will try to kill the horn sounds for that bar and write my own background for e.g. 4 (MIDI) flutes.

The song, by the way, is “Felicidade” in the key of Cm and the chords are in bar 7.

Thanks again,
Tonnie

By the way, I contacted PG Support on 13 June and got an automated confirmation, but have not heard from them since.

Hi Tonnie,

I just looked at a number of sites looking at "Felicidade" and none of them had a xMaj7#5 in them. All had a x7#5. I would be interested in where you got your version.

Hi Tonnie,

It was worth a try :-)

Side note 1.
When we see chords like Eb7#5 and look at them in context, they are quite often the result of the arrangement using voice leading which creates the alteration.
For example: the sequence in A Felicidade you are referencing in my chart is in bars 29-31 and has Bbm7 to Eb7 to Eb7#5 to Ab6 . A typical voice line would use the notes Ab (in the Bbm7) to Bb (in the Eb7) to B (in the Eb7#5) to C (in the Ab6.).

Side note 2.
You will do no harm to the arrangement by ignoring the Eb7#5 and keeping Eb7 for the entire bar.

Jim

Mario,

Thanks for taking the time to look at my posting!
This version is my own arrangement.

I often use this | Xmaj7 / Xmaj7#5 / | X69 / …, as it sounds great if the melody “hoovers” around the third of the chord. It gives great voice leading and sounds a bit like Bill Evans.

Try it e.g. on “Like Someone in Love”.

Brgds,
Tonnie

Tonnie, that's for the info.

I know about those chords and I have played them its just I couldn't find xMaj7#5 in that song and I looked at a lot of chord sheets via the Internet.

XMaj7m, X7#5, X9#5 and Xm7b5 are a few of my favorites.

Mario,

To satisfy your curiosity I could send the BB file for this song. I hav one problem though, I seem to be unable to change the setting on the Soloist track from loop to flute, so there are no flutes (yet).

Please give me an email I can send it to.

Tonnie

Tonnie, you have a PM.