Just a small request:

You can enter Maj9(#11) or Maj13(#11), but you cannot enter Maj7(#11).

Maj7(#11) is occasionally seen in fakebooks (more commonly than the other two chords, I would think), and it would be nice to have support for this.

Yes, I know I can add an entry in shortcut.txt but I want to be able to choose the sound without the 9th or the 13th.

Thanks.

So is a Maj7#11 spelt.. C E G B F#?

Yes.

There's no difference between a maj7#11 and a maj9#11. Technically, you could say that because the ninth is not specified in the one, that it's not meant to be there; but in practice, any flavor of 7th chord is equivalent to the same flavor of 9th chord. Maybe in pop you'd be that specific, but in jazz (the most likely place to see that chord) you'd nearly always substitute the 9th for the root, thus spelling a Cmaj7#11 as E G B D F#. That's especially true if the chord includes an 11th or 13th, which implies that the 9th is also present. Still, you see it notated that way, and I think it's an odd omission. If only one were available, I would think it would be the maj7#11, with chord embellishments providing the 9th.

+1

Thanks, I agree. That's funny because I just gave basically that same explanation in another post about the 9th being implied as present in a 13th chord.

Had forgotten about this post. Just checked, and Maj7#11 is not supported in Version 2009.5.

I tend to over-write chords in my charts, putting in lots of 9s and 13s when the pianist says, "I'm going to play those anyway; just write it more simply." So, it's in that spirit that having Maj7#11 would be helpful without a shortcut needed. I agree, you'll probably hear BIAB play the same thing as it would for a Maj9#11. The second part of my request, to omit the 9 (or 13) from the chord would be an added bonus.

If nothing else, maybe BIAB can add the shortcut by default, so the program will accept the data entry instead of making someone scratch their head when nothing happens. It's OK if it turns into a Maj9#11. I'm used to these substitutions, where typing Dadd9 becomes D2, and typing D11 becomes D9sus.

I agree with your pianist.

Try a simple Maj7alt or Maj7b5 if that #11 is all-important to get the point across fast and clean. Any player would realize all too soon that the flatted fifth should be in open and not closed voicing. Well, almost any player.

Fake chords are designed to be a shorthand method. If you want to get really exact, consider writing out the piano grand staff for the poor guy. And then be prepared for even more complaints.


--Mac

Thanks, Mac. Let me clarify. The conversation I had with the pianist took place well over thirty years ago, and I learned from it. What I should have said is that in BIAB I use the extended chords, because it does make a difference in the sound. When I then make a chart for that song in a notation program, I simplify it and let the pianist and guitarist do their thing.

My original request was more about keying in other people's charts from fakebooks.

I encountered this "feature" on my second BIAB tune. maj7#11 isn't rocket science. So I entered maj9#11 as recommended. On playback all I get is maj9, no #11 even though it's specified in the chord. Kinda undermines my confidence in the program. What's next?

Oh my, a twelve year gap. Welcome.

And yes, keying in Maj7#11 is not supported. However, I hear the #11 when I write it. Some simpler RealTracks may not have a recording by the artist of that extension.

If it’s a MIDI track, you should certainly hear the #11. If it’s a RealTrack or two, like piano and guitar, please tell us the RealTrack #s so we can test it.