I'd like to be able to overlay one chord on top of another using the same patterns when a track is frozen.
One way this could work is if you copy one set of chords to a spare melody channel then have an option in 'freeze tracks' to transpose the same patterns used in the first playback to a new set of chords you enter on the chordsheet.
If you're with me let me know otherwise I'll try and explain this a bit better.!
Alan
I'm with you. +1
Ingenious thinking here. If one could do what you are proposing, could one also vary the timing? This would make it possible to sound more than four chords per measure. Hey, we can dream.
I'd like to be able to overlay one chord on top of another using the same patterns when a track is frozen.
One way this could work is if you copy one set of chords to a spare melody channel then have an option in 'freeze tracks' to transpose the same patterns used in the first playback to a new set of chords you enter on the chordsheet.
If you're with me let me know otherwise I'll try and explain this a bit better.!
Alan
Alan
Great idea. This could be most useful
+1
There is of course currently a workaround for this which is almost acceptable with a bit of tweaking. Best to use a comping style with sparse left hand only voicings with this technique.
It involves
1 Moving the generated chords from the first playback to a melody channel.
2 Then you in put a second set of changes.
3 You mute the piano channel.
4 You make or edit a melody harmony which selects one voice plus the melody (I find voice option 4 or 5 best) Remember to reduce the velocity of the voice to make it blend better with the 'melody' (which of course is your chord part)
5 When you generate the second set of changes it's played by the melody harmony and merged with the first set.
What tends to happen if it works out is that the melody harmony will include enough of the flavour of the second set of chord changes to convince your ear that theres a polychord at work.
You can edit the whole thing in edit melody by permanently merging the two sets of changes altering the timing offset for a more 'human' feel and getting rid of annoying doubled notes.
You can also add just one 'wrong' note to your changes this way if you select the 'low root' voice and move it up to the piano range in the dialogue box.
Try adding a Maj7 note to an A7#9 for example. All you have to do is input Ab/A as your chord at that point in your second chord sheet.
Alan