I’m surprised to see that, because Em is the relative minor of G Major, with the same key signature. There is no need for correction to notation, but perhaps BIAB is recommending this for the purpose of generating the best possible accompaniment choices. The green color is for information rather than action, so I’m not sure.
please post the song. is it really in E minor? as Matt says E minor is the relative minor to G major, but if the majority of the chords suggest G major is the key, then BIAB may well be correct and trying to be helpful.
do you understand the concept of majors and relative minors?
The message is quite straightforward to replicate, especially if one does not understand or is unwilling to study/understand music theory.
Create a new song.
Set the Key Signature to E minor.
Place chords in the song that clearly don't have any connection to a song in E minor.
Save the song.
Voila! Instant helpful advisory message.
VideoTrack：
HI, thanks for replying! I wrote more than 20 chord progressions by myself yesterday. I have forgotten which SUG file it was. Then I went to bed yesterday and didn't find it. If something similar happens to me someday, I will take a big picture.
...Here I have a piece that begins with D#, continues to F#, then ends on F.
I called it key of Em, BIAB wants to call it key of Bb.
Why???
I'm guessing it's calling D#/Eb = IV and F = V and ignoring the F#?
I agree that the enharmonic Eb and the F could be contributing. Without knowing the algorithm, it's difficult to accurately guess, but no doubt we are working from the same page with this one.
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well done videotrack.........the query is simply a lack of musical knowledge, chord structures, key signatures and common sense. i actually posted elsewhere a question to the OP as to whether he understood majors and relative minors but no reply. this one way street of information cannnot go on like this.
well done videotrack.........the query is simply a lack of musical knowledge, chord structures, key signatures and common sense. i actually posted elsewhere a question to the OP as to whether he understood majors and relative minors but no reply. this one way street of information cannnot go on like this.
well done videotrack.........the query is simply a lack of musical knowledge, chord structures, key signatures and common sense. i actually posted elsewhere a question to the OP as to whether he understood majors and relative minors but no reply. this one way street of information cannnot go on like this.
Thanks Bob for your comments. This forum has a sensational bunch of participants. Great questions and suggestions are continually made, and the underlying concept of the forum is to assist us all to work with the BiaB program itself. Like many others, I'm passionate about learning more, helping others, and definitely seeking assistance when I 'get stuck', and of course I do.
But, with few exceptions, I don't believe this forum was ever generally intended to be a platform for participants to 'fast-track' the learning of the rudiments of music by regularly seeking the support of others, or assuming that a knowledge of musical theory was not important to achieve what the program can potentially offer.
I can only encourage enthusiastic members to broaden their musical skills by not simply relying only on what BiaB might deliver, but by having a better understanding and knowledge of music. Some effort is required.
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My question mainly revolves around BIAB. Recently, I asked some chord questions. The main reason is not that I don’t know about chords, but that I can’t determine whether the chords I entered in BIAB are what I want.
My question mainly revolves around BIAB. Recently, I asked some chord questions. The main reason is not that I don’t know about chords, but that I can’t determine whether the chords I entered in BIAB are what I want.
SwingBabyMix, please don't take this as a criticism. We all start somewhere. But BiaB should not be the product you use to teach you about chord structures or music in general.
BiaB shows you the results of how you use chords, or maybe somewhere in between.
Please don't be afraid to explore more fundamental approaches to music basics. This will help you much more than you probably now realize.
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On these latest two issues, i believe Swingbabymix asked questions that were appropriate. They were not about chord theory at all; they were about how to enter a chord found elsewhere into BIAB, and then about a BIAB suggestion that is indeed sometimes wrong.
The first example I recall was a half-diminished seventh chord from Scaler that had parentheses. It was a perfectly normal way to write the chord but BIAB would not accept it. A beginner with BIAB would reasonably not know that you don’t enter the parentheses.
We gave the correct answer and also showed how to see the list of chords that are in the form BIAB does accept. Some posters mistakenly took the threads into other directions under the assumption an education in music theory was needed. In this case, that was unnecessary.
Now we have this thread with a legitimate question about the key signature BIAB recommends. In some situations, I have seen the artificial intelligence in BIAB make a wrong guess (and I know the theory to know that it’s wrong). But it’s only a suggestion (in green) and you can ignore it. This is especially true if you feed a strange progression into it and confuse it.
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Now we have this thread with a legitimate question about the key signature BIAB recommends. In some situations, I have seen the artificial intelligence in BIAB make a wrong guess (and I know the theory to know that it’s wrong). But it’s only a suggestion (in green) and you can ignore it. This is especially true if you feed a strange progression into it and confuse it.
Some posters mistakenly took the threads into other directions under the assumption an education in music theory was needed. In this case, that was unnecessary.
That's ignoring all the other issues he presents, which you just said require treating Mr. Mix as a 7 year old child. In return, he calls you "teacher" and replies to you in bold. Not everyone is in that position, or wants to be.
That's ignoring all the other issues he presents, which you just said require treating Mr. Mix as a 7 year old child. In return, he calls you "teacher" and replies to you in bold. Not everyone is in that position, or wants to be.
It is very important to maintain a childlike heart
...Here I have a piece that begins with D#, continues to F#, then ends on F.
I called it key of Em, BIAB wants to call it key of Bb.
Why???
I'm guessing it's calling D#/Eb = IV and F = V and ignoring the F#?
I agree that the enharmonic Eb and the F could be contributing. Without knowing the algorithm, it's difficult to accurately guess, but no doubt we are working from the same page with this one.
I'm wondering what the musical basis of the algorithm would be.
Given nothing but those three chords – and forget about BIAB – would it be appropriate to analyze that piece in that way?
Specifically, does the presence of the IV and the V strongly imply the missing root, to the point where they determine the key?
This gets to questions about musical "reality" that are weighing heavily on my mind these days.
That's ignoring all the other issues he presents, which you just said require treating Mr. Mix as a 7 year old child. In return, he calls you "teacher" and replies to you in bold. Not everyone is in that position, or wants to be.
It is very important to maintain a childlike heart
Oh, for sure, for sure!
But it's one thing to nurture your inner child by watching the sun rise over a basket of puppies. It's another to inject your inner child into a forum where people have to treat him like he's 7 years old.
You might reflect on whether that's really what you want.
You might reflect on whether that's really what you want.
I didn't think so much, but when I contacted BIAB, I encountered some problems, and then left a message in the beginner forum. Thank you for your help, and thank you all for your enthusiastic help
Thank you for your help, and thank you all for your enthusiastic help
What can I say, you inspire me! Sometimes, opening up the BIAB forums and finding a bunch of crazy new Mr. Mix threads is like watching the sun rise over a basket of puppies!
Thank you for your help, and thank you all for your enthusiastic help
What can I say, you inspire me! Sometimes, opening up the BIAB forums and finding a bunch of crazy new Mr. Mix threads is like watching the sun rise over a basket of puppies!
Yes. It is difficult to master BIAB in a short time. I started to make detours. At first I just wanted to use BIAB VST. But in the end I found that I should learn the main BIAB program. After everyone's help, the main program is basically mastered. I tried to input some chords a few days ago, and then I ran into a problem with the chord input method. Import the work into STUDIO ONE yesterday and today, and then use Sonible-smart EQ3 to automatically adjust the EQ, perfect
Therefore, there won't be too many questions next.
Yes. It is difficult to master BIAB in a short time. I started to make detours. At first I just wanted to use BIAB VST. But in the end I found that I should learn the main BIAB program. After everyone's help, the main program is basically mastered. I tried to input some chords a few days ago, and then I ran into a problem with the chord input method. Import the work into STUDIO ONE yesterday and today, and then use Sonible-smart EQ3 to automatically adjust the EQ, perfect
Therefore, there won't be too many questions next.
It is possible to generate fun puzzles, at least that are puzzling to me. Here I have a piece that begins with D#, continues to F#, then ends on F. I called it key of Em, BIAB wants to call it key of Bb. Why??? I'm guessing it's calling D#/Eb = IV and F = V and ignoring the F#?
The message says "it is likely Eb". It does not say that it is Eb. It is only a suggestion.
I see it as a guess about an underlying musical reality rather than a suggestion about what you might want to do.
Either way, I'm wondering why, and how to evaluate it.
On these latest two issues, i believe Swingbabymix asked questions that were appropriate.
Yes, I agree that some valid questions are being asked. In fact, good questions.
The recommendations by BiaB to change the key signature to G Major for me was intuitive but at the same time intriguing. But more information about the chords used were really required to make an independent analysis.
In a separate example I agreed that the enharmonic Eb and the F could be contributing to a key signature recommendation, but never intended for my response to indicate that the questions were not appropriate. Neither that BiaB was correct nor incorrect.
I also commented on alternative syntax on how to implement Bmin7(b5) in BiaB, especially to use the Chord Builder which I hope would have been helpful.
Additionally, I offered some encouragement to possibly lesser skilled musicians that they should take the opportunity to further explore music theory with a view to better understand the fundamentals of music, this of course is in an attempt to broaden their musical skills and creativity. I still believe that to be a valid and worthwhile suggestion.
I wasn't aware that BiaB incorporated any form of artificial intelligence, but would be keen to learn more. I had always suspected it predominately used well developed algorithms based on the program's design requirements and deliverables.
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That’s a good question about artificial intelligence. I suppose it depends on your definition and I did use the term loosely. I agree there are algorithms making this recommendation and like many things in BIAB, we don’t know how they work.
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