Old 04-02-2018, 12:48 AM   #1
MusoBob
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Default What Chords Do You Use ?

I'm just recording some loops and want to include the most used chords.
I have added these to include harmonic major and minor.

So far for C I have:
C
Dm
Em
F
G
Am
Bdim
CMaj7
Dm7
Em7
FMaj7
G7
Am7
Bm7b5
Em7#5
C6
Cadd9
C69
Caug
Caug7
C5
Dm6
Csus2
Csus4
Dsus2
Dsus4
Gsus2
Gsus4
Fsus2
Bdim7
Am9
Dm9
E
Fm
E7
G#aug
G#dim
G#dim
G#dim7
AmMaj7
CMaj7#5
Dm7b5
FmMaj7

What others do you think need to be added ?
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Old 04-02-2018, 02:35 AM   #2
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Maybe I am a bit Melancholy and should not post I am 65 years old I purchased a book about 35 years ago after going a few years playing my guitar the book had 2500 chord positions......
I then after another 15 years taught myself to read music and understood I could make up my own.
Then I went back to where I started and thought about what sound I wanted and also why if you have no rhythm you have no tune.

I hope you will realize older folk do meander MusoBob

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Old 04-02-2018, 03:01 AM   #3
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Quote:
Originally Posted by MusoBob View Post
I'm just recording some loops and want to include the most used chords.
I have added these to include harmonic major and minor.

So far for C I have:
C
Dm
Em
F
G
Am
Bdim
CMaj7
Dm7
Em7
FMaj7
G7
Am7
Bm7b5
Em7#5
C6
Cadd9
C69
Caug
Caug7
C5
Dm6
Csus2
Csus4
Dsus2
Dsus4
Gsus2
Gsus4
Fsus2
Bdim7
Am9
Dm9
E
Fm
E7
G#aug
G#dim
G#dim
G#dim7
AmMaj7
CMaj7#5
Dm7b5
FmMaj7

What others do you think need to be added ?
I have an app on my phone called smart chord.its truly fantastic,check it out.
http://www.smartchord.de/pages/engli...rd.php?lang=EN
every chord is there.I experiment a lot with different fingers/voicings which can also make a big difference
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Old 04-02-2018, 03:42 AM   #4
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Basically I need to know if I give you guys the loops after I have recorded them will you find them usable or will you be looking for a chord that's not there ?
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Old 04-02-2018, 08:28 PM   #5
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I updated it with a few more:

C
Dm
Em
F
G
Am
Bdim
CMaj7
Dm7
Em7
FMaj7
G7
Am7
Bm7b5
Em7#5
C6
Cadd9
C69
Caug
Caug7
C5
Dm6
Csus2
Csus4
Dsus2
Dsus4
Gsus2
Gsus4
Fsus2
Bdim7
Am9
Dm9
E
Fm
E7
G#aug
G#dim
G#dim
G#dim7
AmMaj7
CMaj7#5
Dm7b5
FmMaj7
FMa7b5
G#Maj7#5
CMaj7#5
D7sus4
E7sus4
G7sus4
E7b5
A#7b5
C7#5
E7#5
A#9b5
G7add13
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Old 04-02-2018, 11:05 PM   #6
soundchaser59
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Quote:
Originally Posted by MusoBob View Post
Em7#5

Cadd9

Caug
Caug7

C5

G#dim7

CMaj7#5

FMa7b5

E7b5

A#9b5

G7add13
Some of these don't make sense to me, not given what i am familiar with.

Why would you #5 on a min 7 chord? Em7#5 is the same as Cadd2, which is the same as Cadd9.

Usually the 7 is implied, so most players will think Caug7 if you just say C augmented. Augmented and #5 are the same thing. Cdim and Cdim7 are usually thought of the same. Jazz and blues players almost always play the 7.

Nobody says Major 7 flat 5, flat 5 is always stated as #11 when the chord is Major or dominant. E7b5 is E7#11.

Never heard of #9 and b5 in the same chord. That's a diminished chord.

Cmin7b5 is known as half diminished, and if you double b the 7 then it is full diminished.

I've just never heard things stated that way before, but most of the chords you list are standards, as far as I know.
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Old 04-02-2018, 11:53 PM   #7
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Quote:
Originally Posted by soundchaser59 View Post
Some of these don't make sense to me, not given what i am familiar with.

Why would you #5 on a min 7 chord? Em7#5 is the same as Cadd2, which is the same as Cadd9.

Usually the 7 is implied, so most players will think Caug7 if you just say C augmented. Augmented and #5 are the same thing. Cdim and Cdim7 are usually thought of the same. Jazz and blues players almost always play the 7.

Nobody says Major 7 flat 5, flat 5 is always stated as #11 when the chord is Major or dominant. E7b5 is E7#11.

Never heard of #9 and b5 in the same chord. That's a diminished chord.

Cmin7b5 is known as half diminished, and if you double b the 7 then it is full diminished.

I've just never heard things stated that way before, but most of the chords you list are standards, as far as I know.
I'm taking a wild guess that these names are generated with some sort of software using selected notes from keyboard, thus they don't really have the original or any musical purpose.

For example, Em7#5, which is E G C(B#) D, which could be the result of having a suspended C over an Em7 chord change, and that C might resolve down to B. So really it's more like Em7b13 (Aeolian).

In general I would suggest focusing on voice leading, to make musical sense of the chords, rather than list of purposeless chord names.

For example, taking two random chords from the list, CMaj7#5 (C E G# B), A#7b5 (or Bb7b5: Bb D Fb Ab). From a glance we know that the common notes between these chords are G#=Ab, E=Fb, D is the 9th of C while C is the 9th of Bb, the difference is B!=Bb. However Bb is the b7 of C, which is within the notes of C7, thus Bb7 could be an alternation of C9#5. Coming from this assumption, could we make sense of the #5 alternation of Cmaj7? Maybe #5 is a chromatic passing tone from G from previous chord, for example FMaj9/F69 (F goes down to E, A goes up to B) or Eb9 (Eb-D G-G# Bb-B Db-C F-E) or Db7#11(Db-C, F-E, Cb=B, Eb-D, G-Ab)? Or maybe G# comes from a suspension from Emaj type chords, to keep G# consistent through all these chords.
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Old 04-03-2018, 01:57 AM   #8
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Here's some you can choose from to add to the list.

MusicLab RealGuitar

ma V, III
6 -
add9 -
sus4 -
sus2 -
6/9 V
maj7 V, V+III
maj9 V
maj7(b5) -
maj7(#5) -
m V
m6 -
m(add9) -
m7 V
m(maj7) V
m7(b5) III,
m9 V
m7(11) VII, V
7 V, III+V
7sus4 -
7(b5) -
7(#5) -
9 V
9sus4 V
7(b9) V
7(#9) V
9(b5) -
7(add13) V
dim7 III, VII, III+VII
aug


UJAM Virtual Guitar

Maj
7
maj7
m
m7
sus4
6
b5
+5(aug)
m6
m7b5
dim
sus2



Applied Acoustics Strum

List of Chords recognized and voiced by Strum GS
C
Cm
Csus2
Csus4
Caug
Cdim
C(b5)
C6
Cm6
C7
Cm7
C7sus2
C7sus4
C7#5
Cdim7
C7b5
Cm7b5
CMaj7
CmMaj7
CMaj7sus2
CMaj7sus4
CMaj7b5
Cadd9
C9
Cm9
C9sus4
C9#5
C9b5
CMaj9
CmMaj9
CMaj9b5
C6 9
Cm6 9
Cm11
C13
Cm13
C13b9
CMaj13
C7b9
C7#9
C7b5b9
C7b5#9
C7#5b9
C7#5#9
C7#11
Cm7 11
CMaj7]11
C7b9#11
C7#9#11
C7 13
Cm7 13
C7b13
CMaj7 13
C7b9b13
C7#9b13
C9#11
CMaj9#11
C9b13



Here is a list of chords recognized by PG Music software:

Major Chords

C, Cmaj, C6, Cmaj7, Cmaj9, Cmaj13, C69, Cmaj7#5, C5b, Caug, C+, Cmaj9#11, Cmaj13#11

Minor Chords

Cm, Cm6, Cm7, Cm9, Cm11, Cm13, Cmaug, Cm#5, CmMaj7

Half diminished

Cm7b5

Diminished

Cdim

Dominant 7th Chords

C7, 7+, C9+, C13+, C13, C7b13, C7#11, C13#11, C7#11b13, C9, C9b13, C9#11, C13#11, C9#11b13, C7b9, C13b9, C7b9b13, C7b9#11, C13b9#11, C7b9#11b13, C7#9, C13#9, C7#9b13, C9#11, C13#9#11, C7#9#11b13

C7b5, C13b5, C7b5b13, C9b5, C9b5b13, C7b5b9, C13b5b9, C7b5b9b13, C7b5#9, C13b5#9, C7b5#9b13, C7#5, C13#5, C7#5#11, C13#5#11, C9#5, C9#5#11, C7#5b9, C13#5b9, C7#5b9#11, C13#5b9#11, C7#5#9, C13#5#9#11, C7#5#9#11, C13#5#9#11

Suspended 4 Chords

Csus, C7sus, C9sus, C13sus, C7susb13, C7sus#11, C13sus#11, C7sus#11b13, C9susb13, C9sus#11, C13sus#11, C9sus#11b13, C7susb9, C13susb9, C7susb9b13, C7susb9#11, C13susb9#11, C7susb9#11b13, C7sus#9, C13sus#9, C7sus#9b13, C9sus#11, C13sus#9#11, C7sus#9#11b13

C7susb5, C13susb5, C7susb5b13, C9susb5, C9susb5b13, C7susb5b9, C13susb5b9, C7susb5b9b13, C7susb5#9, C13susb5#9, C7susb5#9b13, C7sus#5, C13sus#5, C7sus#5#11, C13sus#5#11, C9sus#5, C9sus#5#11, C7sus#5b9, C13sus#5b9, C7sus#5b9#11, C13sus#5b9#11, C7sus#5#9, C13sus#5#9#11, C7sus#5#9#11, C13sus#5#9#11

Notes:

It is not necessary to type upper or lower case. For example type c6 to get the C6 chord. You should never have to use the Shift key, as Band-in-a-Box® and PowerTracks will sort this out for you.

Any chord may be entered with an alternate root ("Slash Chord") e.g.: C7/E = C7 with E bass.

Separate chords with commas to enter 2 chords in a 2 beat cell, e.g., Dm,G7.

Use the letter "b" for a flat; e.g., Bb7

Use # or 3 for a sharp; e.g., F#7. The pound sign (#) is the uppercase symbol of 3, so you can actually type f37 to get F#7. Band-in-a-Box® and PowerTracks will sort out the case, saving you the effort of using Shift+3 to type the # symbol.

Tricky Chords:

C5b This is "C flat 5." It is spelled this way to avoid confusion.

C2, C5, C4, C69, C7alt, Cm7#5


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Old 04-03-2018, 03:08 AM   #9
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It's likely I've played quite a few of those chords but after the basics I usually make chords up myself by putting fingers on keyboard or fingerboard and if I happen to like the noise it makes I play it again. I've never really had a need to address them all by their proper names.

It is an entertaining exercise though. But what on earth is a C69? It looks really improbable.

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Old 04-03-2018, 03:35 AM   #10
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The whole idea of this exercise is to find out what chords you need not what chords you don't need or know, any you don't need can easily be deleted from your hard drive or SSD but how do you add a chord that's not there ? "MusoBob that guitar you recorded sounds great I can use that in my next song but I use this "&%#*" chord in my songs a lot but I can't find it, can you re-record it for me with that guitar"
If you have to go and buy loops they usually just have a few chords, you can't transpose a m into a m7.

Last edited by MusoBob; 04-03-2018 at 04:07 AM.
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Old 04-10-2018, 09:43 PM   #11
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Quote:
Originally Posted by grinder View Post
Maybe I am a bit Melancholy and should not post I am 65 years old I purchased a book about 35 years ago after going a few years playing my guitar the book had 2500 chord positions......
I then after another 15 years taught myself to read music and understood I could make up my own.
Then I went back to where I started and thought about what sound I wanted and also why if you have no rhythm you have no tune.

I hope you will realize older folk do meander MusoBob

Grinder
I'm 48 - getting old I'd say - and have a similar experience. Probably got the same 2500 chord book, probably made up similar chords, also wen't back full circle - perhaps back to something one could say more basic ----> using simple chords as the foundation and notes in the melody line as moving extensions of the chords. Say a simple chord occurs at time=1 and hold until t=4 ; well, the melody occurring between t=1 to 4 transforms that chord into something else (more complex) - something more fluidly elaborate in time.

For a while I was trying to incorporate the notes of the melody line within the fundamental chords. While that sounded really cool - and impressed a few - it didn't work so well for me when I was trying to get a decent mix - a mix where every instrument, including the vocals, had there own special sweet spot in the frequency spectrum. Things seem to work better for me when each instrument does a bit less on their own and leave room for other instruments to contribute to the sonic expression. Just something to consider when trying to line up chords that will serve as the foundation of some great edifice. But what do I know... I'm really just an amateur trying to figure things out. Approximately 30 years of amateurish figuring out - maybe I'm slow or something?
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Old 04-11-2018, 03:12 AM   #12
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I would say you are winning RDBOIS.
Doing things your way is really the only way something new comes along....

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Old 04-17-2018, 12:38 PM   #13
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This is nutz.



(I'm 70)
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Old 03-31-2019, 12:06 AM   #14
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This is where all that helpful information was used ReaTrak Studio
thanks guys !
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Old 03-31-2019, 03:58 AM   #15
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Quote:
Originally Posted by RCJacH View Post
In general I would suggest focusing on voice leading, to make musical sense of the chords, rather than list of purposeless chord names.
Amen to that bro !!

Unless you are talking about avant garde/experimental, etc., this is how things work:

The melody (often vocal) leads the way and tells the story.

The bass defines the foundation against the melody.

The chords are simply the colour that fills in the "holes" in the picture and the story.

When you progress from one chord to the next, you move each voice (note) in one chord to a voice in the next chord in the progression, but thinking of this concept in "block chord" fashion is folly.

I would suggest that, though you may be able to say one day that you have mathematically presented every possible chord construction, it will be of zero use to anyone, including you

What are you trying to accomplish, maybe there's a better way.
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Old 03-31-2019, 03:24 PM   #16
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The list was to work out what chords to include in the test tracks,
as if you are recording tracks to share you need to cover the most commonly used chords,
if you download some of the test tracks https://www.reatrak.com/downloads/test_files/

enter your chord progression and color the regions for the song part (the test instrument tracks include verse and chorus at the moment, some of the drums have all the different song sections),

select all regions with the time selection,
click Choose Instrument button and choose the wav or mp3 you downloaded,

click ReaTrak Selection,
it should fit the instrument to your chords.

More chords were requested and added as well as slash chords for working with midi
https://forum.cockos.com/showthread....2645&page=3#96

Last edited by MusoBob; 03-31-2019 at 04:28 PM.
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Old 03-31-2019, 07:12 PM   #17
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Here's a basic recording template A-Test-Record-play-anywhere&verse-chorus_regions_markers.zip
it's in A but you can select all the chords with time selection and click "Transpose Chord Selection" to change it to the next key to record to.
I made one a verse and chorus you record record in the style for verse and chorus the other is red play anywhere so it will fit the same style you recorded over all different song section colors,
it has an ending for verse and chorus.
You can change it to any progression you like, just try and cover the basic chords.

These are only basic for you to try, you can create more advanced ones with fills so whatever you play in the fill will be matched, you can also link sections with -L1 -L2 -L3 etc. this will match these section to the user's progression. You can create more variety of endings, you can play some pickup/intro notes in the count-in(s).

You can create a backing to record to by selecting some drums and bass from the
https://www.reatrak.com/downloads/test_files/
If you create up a backing track to record to and you are using the red play anywhere template
just change it to the verse color first so it fits the backing track instruments, then when you save the play anywhere region chord csv for the wav change all the regions to red pay anywhere color except pink count-in and verse and chorus endings, this is done by clicking the color song section or "Play Anywhere" button, it will then move to the next region so it's quick to do.


If you record DI Direct Input you will get better results without the sustain bleeding into the next bar, FX can be added after it has been fitted to the user's chord progression.

Save the regions.csv in the region manager or "Export\Renumber Chords" button (this will also snap chords to the grid in case they are out) and rename to same name as the recorded wav.
Put your instrument tracks in a folder with name format eg.
X:\ReaTrak Instruments\Guitar, Electric, Rhythm Classic Rock 01 Ev8 4-4 120bpm
Guitar, Electric, Rhythm Classic Rock 01 Ev8 4-4 120bpm C-Am.csv
Guitar, Electric, Rhythm Classic Rock 01 Ev8 4-4 120bpm C-Am.wav

You need this in the name format:

4-4 is time signature
120bpm is tempo
C-Am is Key

To try them out
enter your chord progression and color the regions for the song part,
select all regions with the time selection,
click Choose Instrument button and choose the wav you recorded,
click ReaTrak Selection,
it should fit the instrument to your chords.
If it's all good you can upload and share/collab.

Last edited by MusoBob; 03-31-2019 at 07:19 PM.
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Old 04-01-2019, 04:27 AM   #18
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Quote:
Originally Posted by RDBOIS View Post
For a while I was trying to incorporate the notes of the melody line within the fundamental chords. While that sounded really cool - and impressed a few - it didn't work so well for me when I was trying to get a decent mix - a mix where every instrument, including the vocals, had there own special sweet spot in the frequency spectrum. Things seem to work better for me when each instrument does a bit less on their own and leave room for other instruments to contribute to the sonic expression. Just something to consider when trying to line up chords that will serve as the foundation of some great edifice. But what do I know... I'm really just an amateur trying to figure things out. Approximately 30 years of amateurish figuring out - maybe I'm slow or something?
I've spent a lot of time looking for that tonal sweet spot as well, but my approach was trying different chord voicings on drastically different sounding guitars. I think your approach makes a lot more sense. Thanks.
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