Hi! I'm not sure if this topic belongs here. I'm aware that usually a dimMaj7 is just an extension of 7#9 but am studying chord gradients so I'd like to study it by itself. Thank you in advance.

- Raquel

Hello Raquel Cruz and welcome to the forums! Here is a list of chords that can be entered and recognized in the Band-in-a-Box chord sheet: https://www.pgmusic.com/tutorial_chordlist.htm but of course you can manually enter the chord tones in the notation or Piano Roll views if you are using MIDI.

Hope this helps!

Did you mean a mMaj7 or do you really mean a Diminished Major 7? That last one I’ve never heard of. In a dim7 chord, there isn’t even a 7th in the sense of dominant versus major.

If it is a mMaj7 then you enter it using just the m , not spelling it out as min

Could you spell the chord notes, root then moving upward? For example, in a C chord, that would be

C Eb Gb Bbb (A) with Bnatural added (quite a mess)

Or

C Eb G Bnatural

Hi, you can get this chord by superimposing on a major triad the note that is a semitone above its root.
For example if you want to have the CdimMaj7, you can enter the B/C chord. (C B D# F#)

dimMaj7:
Could be analized as a Diminished Seventh chord followed by one of its tensions, in this case, the major seventh.
Isn't it?

Welcome to the forum. I concur. It's just that this won't sound very good to most folks.

I would still like to be sure the question was not about a minor major seventh chord.

The diminished major 7th chord is the diminished triad with an added major 7th.

It was/is widely used in fusion and ECM type music as far back as the 1970's often rendered as Maj/b2. That was the era when everyone was using the modern triad system, where there was usually the triad over a non-chord member bass note suggesting the use of two keys simultaneously.

The best way to do it in BIAB is have as a first inversion 7#9 chord (Ab7#9/C). The implicit added #5 doesn't spoil the sound as it comes from the diminished W/H scale anyway.
In most cases B/C doesn't work well with midi styles because many of them have Major tonic chord riff figures that ruin the effect.

Sometimes the first inversion of B major, Ebm#5 can be used over C but even here you run into the same problem with minor riff patterns that use the 5th instead of the #5.

BIAB chord masks in the stylemaker have always failed to distinguish altered and suspended chords from plain unaltered ones giving you totally unwanted effects with riff patterns at times. Unfortunately they turn up a lot in modern jazz styles. My approach is to alter the pattern notation to get rid of 4ths 6ths and 9ths and/or turn pattern embellishments to 0.

Thank you, Alan. I learned something here. I am always impressed by your knowledge of chord theory.