When I enter Cadd9, it will automatically become Cadd2
How to input Cadd9 in BIAB?
thanks

Here is a full list of the chords recognized by Band-in-a-Box. The chord names have to be entered exactly as shown here. Alternative spellings for the same chord type will not be recognized. https://www.pgmusic.com/tutorial_chordlist.htm

This video also goes over entering chords into Band-in-a-Box: https://youtu.be/rAKw4ZPOK_c

Instead of typing in the chord names, you could alternatively use the Chord Builder window. Right click the bar you wish to enter a chord, then select Chord Build in the menu.

These are effectively the same chord, do you understand why?

Yes, and it's even more than that. BIAB does not distinguish between a 2 chord, an add2 chord, an add9 chord, and a sus2 chord. All are handled as 2 chords in BIAB. So even if you can type them in, they are treated internally as the same chord.

I don't quite understand.
Can you tell me directly which Cadd9 is?

Cadd9 = Cadd2 ? right?

So, what chords are included in C7+ ，C9+?

thanks

Yes, as you enter them into BIAB, and they are all converted to a 2 chord. But No, as far as classical theory, where the meaning of the four chords I gave is different for each. Don't forget, you may hear any of the four being played by a RealTrack artist.

And if you mean, are there other ways to enter C7+ into BIAB? Yes. C7#5 or C7aug (which isn't on the 2018 chart).

C9+ is also possible by C9#5 but C9aug does not work.

I can't wait for the next question, about Bflat9 versus Bnatural with a flatted nine...

Yes. Cadd9 is the same notes as Cadd2 because in C, the 9 and the 2 are both the note D.

Strictly, the 9 is in the next octave above the C, but in practice it is often played as the 2, because the "quality" of the chord is the same.

We often do the same with 11 and 13.
Any or all of these may be modified by a flat (b) or a sharp (#).

If 9 is the same as 2, you might want to think about which notes 11 and 13 are the same as.

thanks!

My next question is, Asus4 and Asus2 sound different
But only Asus can be recognized in Biab?

This has me wondering, what is the highest numbered interval? I mean, they could stop at 7 and start over at 2, but they don’t, so you get 9 etc. Where does it stop? 13? Could it go even higher, into the next octave, for 16ths and 18ths etc.?

To be clear, I'm not asking about what notes exist or what can be played, I'm asking if any musician would actually speak of something like a C18th chord.

I've never heard of anything higher than 13.

I guess this is because the main intervals we express are odd ... 1, 3, 5, 7, 9, 11 & 13, but the 9, 11 & 13 equate to even interval notes in the next octave up, then 15 would be back to the root note again. There's no need to continue.

A fair question to ask. No, I've never encountered anything over 13. And for people just learning, when you see these upper notes above an octave, just subtract 7 to get the same pitch in the register one octave lower. 13=6. 11=4. 9=2.

So yes, Gordon, 15 - 7 = 8, which is the same tone (just in a higher register) as the root since 8 - 7 = 1.

this is what I have been thinking about and it is still very common in guitar music to use those two chords.

When someone says to you, play a sus chord, 'sus' is an abbreviation of 'suspended' and it is just assumed they mean sus4. BIAB assumes that, too, and omits writing the '4'.

Sus2 is an unusual chord, and some musicians do not even recognize it as a suspended chord at all (does it resolve, and where - a discussion for a different day). Somewhere in one of these many threads on chords for BIAB, I explained to you that BIAB handles a sus2 chord as a 2 chord. Do you see why it should, and will, sound different now from a sus4 chord?

Thanks Chantelle. This was very helpful. Love that trick for using "3" for "#" because I am often typing one handed while holding my guitar. Cool!

OK. What the teacher meant is that in BIAB, Asus=Asus4, Right?

Re: Stopping at 13ths –

Take a 6th chord. Push that 6th note up and the chord becomes a 7th.

What happens if you do that to a 13th chord? What do you call it, if not a 14th? (Screenshot shows what I think would be a "C dominant 14th")

I realize you have to stop somewhere, but I'm curious about this limit. Maybe 13 is just bad luck for all numbers above it.

https://en.wikipedia.org/wiki/Thirteenth

I'm on shaky ground now. I think by then we've gone right through the list and it's back to the Maj7 again, though I accept that's a weak argument on my part. One could also define it as ##13 and avoid the subject :-)

The simple(?) 9, 11 & 13 imply also the additional notes below them in the sequence, so 13 implies also 7, 9 & 11, though they're quite often omitted. I believe "add" means explicitely to only the named note, but I'm ready to be corrected on that. That still means that Cm7add11 has five notes in it.

OK, looking at that chord, I think I've answered my own question. Partially.

A dominant 13th is adding a new pitch class to the chord, like A in the key of C. That pitch class is not present in the chord below it.

However, a "dominant 14th" just doubles the 7th, like Bb in the key of C. That pitch class is already present in the chord below it, so you're not really adding anything.

Of course, you could raise the seventh to a B and keep the 14th as a Bb, or raise the 14th to a B ...

No, it's pretty good, I just thought the same thing myself! But then I wondered about the "mismatch cases" without such octave doubling. Maybe at that point you just get weird names, like the "Frankfurt Heliotrope".

I think 13 is enough to keep track of. And yes, Gordon, add X means only that is X added to a triad, and other normally implied notes are not there. So I would expect Gadd9 to not have the seventh of the chord. Likewise, I expect, as you do, that a 13th chord can have, but may not have, a 7, 9 and / or 11 in it. But it almost certainly will sound the seventh, to give it that "flavor".

OK, Mark has just invented a Neapolitan 15th.

An idea whose time has come.

Now I'm working on something in the Charles Ives tradition called the "New England Octave", where you have two notes that are an octave apart but played in different towns.

But couldn't chords greater than n13 be called poly chords? Like CMaj7:DMaj7b9, i.e. C-E-G-B-D-A-C#-Eb. This would make a good cluster chord.

Oh, man, this is so interesting, it raises deep philosophical issues about the nature of musical reality (and I am not being facetious.)

My chord pictured above can be regarded as a C Major with a Bb Major sitting on top of it.

Does that mean that's what it is, really?

Yes that chord could be called a C:Bb poly chord.

Music theory for a guitarist can be very frustrating at times. We can only play up to six notes at a time while mostly we play only 3 to 5 notes, at least in jazz. So your your C:Bb poly chord I could play C-E-Bb-D-G, which is really a C9! Or I could play a Bb-D-F-C, a Bb add9.

I run into this"conflict" a lot when I jam with JonD. JonD is a pianist/keyboardist with lots of theory. Thus what I would call a chord's name he usually adds a number of other chords that contain those 3-5 notes I played on my guitar. We do have fun together trying to find the right chord for our progression. This is where BiaB is a God sent piece of software, i.e. playing around with chords and chord progressions.

As I have told my students learn music theory but don't let it get in the way of your playing. If you ain't playing from the heart then what good is it? YMMV

Nothing wrong with playing from your head.

If I look at that chord as a polychord comprising a C Major and a Bb Major, it may give me ideas. If I'm playing a guitar solo, I may play along with it as if it were a plain Bb Major instead of a crazy C Something. If I'm writing parts, I may break it up into a C Major for the piano and a Bb Major for the horns.

That kind of idea comes straight out of my cognitive head, in response to the acquisition of an interesting piece of abstract theoretical knowledge. Some might find this cold and cerebral – it sure isn't watching a sunset from the door of a moving freight train – but it warms my own heart, and I'm sure someone could put it to good musical use.

I agree with you in that there is nothing wrong with your approach and in fact I do the same thing. My point to my students was when learning theory it is OK to practice it but don't let it get in the way. For instance if they learn a C Dorian mode or an Am Pentatonic scale don't just run the scales while playing a song. IMHO there is nothing worse then having a musician rapidly playing a bunch of scales or arpeggios and not having any melody or feeling (heart) in the lead.
YMMV

I read somewhere that John McLaughlin of Mahavishnu Orchestra played guitar using 3 minor pentatonic modes bolted together. He tried to offset the often vacant intellectuality of this by blaming it on The Music (supposedly a spiritual force channelling itself through him) and choking out a lot of screaming dissonant notes. But even as a youth I was not fooled.

Wow, not sure the C9 was ever clarified? This tread really took off.

As a guitarist this is a very popular jazz chord and it is played as a dominate chord, R, 3, b7, 9. Like Mario said, for us guitar players we generally use only 3 note chords except when its Jazz and we use 4 note chords like C9 .



Otherwise, I would consider the voicing for Cadd9 or C2 to be ambiguous unless further clarified. On piano, I would likly play a C triad and add the D as the high note and then look around to see if I get any strange looks. But thats just me.

I reckon a C major triad with a Bb major triad stacked on top is C11.

As I mentioned earlier, though, all those extensions could be flattened or sharpened. Each of them can then be written in a way that someone else could play them, but even then, the voicing can vary.

I once heard someone say "so we're adding extra noteds to the chord and that can only make it better, right?" Erm, well, I see his point, but I think I don't entirely agree :-)

But then one persons tension is another's dissonance.
We're balancing arguably boring against comfortable against surprising against shocking.

Here is what this old man was taught many years ago, from the lowest to the highest note:
Cadd9 = C-E-G-D
C2 = C-D-E-G
Csus2 = C-D-G

The confusion comes in when the Cadd9 and the C2 chords are in different inversions, then you might not be able to tell which is which.

YMMV

To me,

C-E-G-D is Cadd9

C-E-G-Bb-D is C9

C9 = C E G B D

Cadd9 = C E G D


Csus2 = 1 2 5

Csus4 = 1 4 5


But in BIAB, sus=sus4, right?

Yes, that is correct.

You're right. I made a typo.

Swingbabymix a C9 is a dominant chord. It would have a minor seventh, which is Bb.

Your chord is a CMaj9 because it has a B natural, the major seventh.

You can always give me accurate answers, thank you very much.

ok.thanks!