Please update your ChordLord..
Updated to version 3.05.235 - button size to choose, minor bugfixing..
ChordLord at the Renoise Tools section
ChordLord (Renoise 3).. 235 chord types (v3.06.235), to all scales/keys, any tonic/note, 4 mode arp for step edit, jump
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- KVRist
- 217 posts since 9 Aug, 2013 from The Hague, The Netherlands
Topic Starter
More updates.. Button size can now be customized to fit on smaller or one screen. Bugfixes..
ChordLord at the Renoise Tools section
version 3.06.235 is out!
ChordLord at the Renoise Tools section
version 3.06.235 is out!
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- KVRist
- 217 posts since 9 Aug, 2013 from The Hague, The Netherlands
Topic Starter
I have updated ChordLord with a Spanish version.
en Español: https://renoise.com/tools/AcordeSenor
in English: https://renoise.com/tools/ChordLord
details: https://forum.renoise.com/t/hurray-for-ChordLord/62253
en Español: https://renoise.com/tools/AcordeSenor
in English: https://renoise.com/tools/ChordLord
details: https://forum.renoise.com/t/hurray-for-ChordLord/62253
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- KVRist
- 217 posts since 9 Aug, 2013 from The Hague, The Netherlands
Topic Starter
There now are translations available in English, Spanish, Portuguese and French.
More information: https://forum.renoise.com/t/hurray-for-ChordLord/62253
English version: https://renoise.com/tools/ChordLord
Version en Español: https://renoise.com/tools/AcordeSenor
Version en Português: https://renoise.com/tools/SenhorAcordes
Version en Français: https://renoise.com/tools/AccordSeigneur
More information: https://forum.renoise.com/t/hurray-for-ChordLord/62253
English version: https://renoise.com/tools/ChordLord
Version en Español: https://renoise.com/tools/AcordeSenor
Version en Português: https://renoise.com/tools/SenhorAcordes
Version en Français: https://renoise.com/tools/AccordSeigneur
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- KVRAF
- 20861 posts since 20 Oct, 2007 from not here
I'll try to criticize this constructively and maybe convey something for going forward:
some of those names, those constructions are not... not reality-based. More is not necessarily more. Arbitrarily stacking stuff by thirds as though to obtain the maximum complexity is... arbitrary.
So, under the viiº heading, eg., B7sus4#5b9#11 is not useful. It's:
1) not viiº.
2) not a harmony on B.
let's deconstruct it: B E Fx (A) C (E#). B E Fx is an *E minor triad* in second inversion. B E G*.
Add the C, and it's a somewhat odd but not unheard of Em (add m6), or C^ in third inversion. Add the A, it's Em (add4) (add b6). Add "E#" it's Em (add 4, b6, b9). Whatever, in no way is that a tertial chord on B. (I actually saw that sus4 #5 construction tried here when someone thought to make a super-sophisticated name for a basic (Am) seventh chord in 1st inv or a (C) add6, to call it Em sus4 #5, uselessly.)
I strongly recommend to apply *Occam's Razor and debate yourself a bit before leaping to things like that. The end user is led down a rabbit hole, away from the light.
some of those names, those constructions are not... not reality-based. More is not necessarily more. Arbitrarily stacking stuff by thirds as though to obtain the maximum complexity is... arbitrary.
So, under the viiº heading, eg., B7sus4#5b9#11 is not useful. It's:
1) not viiº.
2) not a harmony on B.
let's deconstruct it: B E Fx (A) C (E#). B E Fx is an *E minor triad* in second inversion. B E G*.
Add the C, and it's a somewhat odd but not unheard of Em (add m6), or C^ in third inversion. Add the A, it's Em (add4) (add b6). Add "E#" it's Em (add 4, b6, b9). Whatever, in no way is that a tertial chord on B. (I actually saw that sus4 #5 construction tried here when someone thought to make a super-sophisticated name for a basic (Am) seventh chord in 1st inv or a (C) add6, to call it Em sus4 #5, uselessly.)
I strongly recommend to apply *Occam's Razor and debate yourself a bit before leaping to things like that. The end user is led down a rabbit hole, away from the light.
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- KVRist
- 217 posts since 9 Aug, 2013 from The Hague, The Netherlands
Topic Starter
The B7sus4#5b9#11 is listed as a vii7 chord.
When you scroll down the list to the actual chord (button),
the header indication will change to vii7.
Your suggestion on improvement of better light will be taken in consideration.
When you scroll down the list to the actual chord (button),
the header indication will change to vii7.
Your suggestion on improvement of better light will be taken in consideration.
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- KVRAF
- 20861 posts since 20 Oct, 2007 from not here
You aren't hearing what I said. I realize you have it under the vii column.
Reality problem: the sus 4 #5 (E Fx) is a nonsense when there is already B E G as a simple triad in second inversion working in the world. It's the central construction of that fictitious chord. Unavoidably. Then a four note chord adding C also has two perfectly useful names known to the world. B E G C adds a minor 6 to Em or amounts to a C major 7th in 3rd inversion, ie., 7th in the bass (I4/2). So it's _not_ a vii chord. [The vii chord in major is a dominant function (in C: Bº cf. G7) and its actuality at this point is here are the same notes as I7 or as it began, substitute for I (iii6/4).]
There is literally no possibility of that chord name reflecting reality. Look before you leap. It might seem super-advanced but it's an avoidable mistake.
Reality problem: the sus 4 #5 (E Fx) is a nonsense when there is already B E G as a simple triad in second inversion working in the world. It's the central construction of that fictitious chord. Unavoidably. Then a four note chord adding C also has two perfectly useful names known to the world. B E G C adds a minor 6 to Em or amounts to a C major 7th in 3rd inversion, ie., 7th in the bass (I4/2). So it's _not_ a vii chord. [The vii chord in major is a dominant function (in C: Bº cf. G7) and its actuality at this point is here are the same notes as I7 or as it began, substitute for I (iii6/4).]
There is literally no possibility of that chord name reflecting reality. Look before you leap. It might seem super-advanced but it's an avoidable mistake.
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- KVRAF
- 20861 posts since 20 Oct, 2007 from not here
Another thing one should understand as basic: writing #5 in a chord name posits the augmented chord per se. The augmented type of chord *is* major 3rd/aug 5th. Meaning vanishes with a minor 3rd, there is no point to the name. The "augmented fifth" is a minor 6th there, simply and easily understood as a norm. Compare B D G: a G major in first inversion, not any Bm #5. The explanation which requires no extraneous suppositions is what you want there.
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- KVRist
- 217 posts since 9 Aug, 2013 from The Hague, The Netherlands
Topic Starter
Quoting Jancivil: "There is literally no possibility of that chord name reflecting reality. Look before you leap. It might seem super-advanced but it's an avoidable mistake."
I have taken two leaps. Then came Murphy, who said not to play leapfrog with a unicorn.
Could you please explain what the *expected* behaviour of ChordLord would be like?
What you are literally saying is "Remove the minor #5 variations." If they however are a chord substracted from the root, and must be played together with more (regular 5th) chords on that note in the sequence, then it would be useful to have these. You could also choose for the major 6th, but it would not ease play for the notation.
I have taken two leaps. Then came Murphy, who said not to play leapfrog with a unicorn.
Could you please explain what the *expected* behaviour of ChordLord would be like?
What you are literally saying is "Remove the minor #5 variations." If they however are a chord substracted from the root, and must be played together with more (regular 5th) chords on that note in the sequence, then it would be useful to have these. You could also choose for the major 6th, but it would not ease play for the notation.
