![]() What happens when there are eight notes in a 4/4 time signature? So if one wants to use a non-harmonic tone for a melody that has 4 notes in a bar, beats 2 and 4 are good places to put it. By this I mean, for example, in 4/4, the main accents are beats 1, 2, 3, 4 and the strength of these accents are strong, weak, medium strong, weak. Often the non-harmonic tones - such as the F you mention against a C chord - are on non-accented notes. Good melodies will nearly always have a tug-o'-war happening between consonance and dissonance with the harmony. There may be better ways-even within BIAB-but that scenario mimics what most of "us" did to learn chords for songs.and still do, in many cases. This is essentially what I'm doing now, in trying to expand my pallete of progressions. ![]() I think all of "us" have experienced the frustration of not being able to find the "right" chord. In this way, you can turn BIAB into your "chording instrument" to learn chords and-not to forget-where to place them. This will keep the arrangement free of "grace notes", "blue notes" and passing tones, for the most part. I'd maybe start with a single simple chording instrument (guitar or piano, most likely) playing simple rhythms-held chords may work best-and a simple bass. Let BIAB choose some chords for you, and experiment. After all, its main feature and most basic command is "enter chords". ![]() BIAB assumes a certain level of knowledge about chords. But it will definitely get you started, and may do flawless.ĭo you play an instrument? Can you play chords on it, like guitar or piano? This is how most of "us" learned how chords work, even if we are not really proficient on the instrument or even know the names of the notes. The BIAB method is not fool-proof, because musical decisions are (or can be) complex and you can't ALWAYS just turn it over to a computer. Made me look like a pompous fool, but I left my posts there so others would know to beware of my replies. ![]() I blathered on for paragraphs about chord theory, then a PG staff person came and told you how to load your melody and let BIAB find the chords for you. You had a previous thread about this (or along these lines). #599368 - 05/27/20 03:11 PM Re: chord notes clashing with melody notes I see those instructors who give tutorials fly through with ease with no clashing sound. The result is awful, one clashing sound after another. Out of frustration, I bought Band-In-A-Box, thinking maybe the pros know how to do it. Let’s say another violinist or a guitarist is looking at the chord and trying to play along, there is possibility his E will clash with the F too. This is only the semi-tone interval, and there are tritone and two-semi-tone intervals and four-semi-tone intervals and the sharps and flats. What if it has an F in it and I’m trying to apply my favorite arpeggio pattern I learned to the melody. But most measures don’t just have the chord notes. Every tutorial I came across says - write C chord for a measure that has C E G. It seems to me the purpose of a chord is to provide guidance for accompaniment. Assume I wrote a melody and wrote a chord progression to the melody.
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