ChordLord (Renoise 3).. 235 chord types (v3.06.235), to all scales/keys, any tonic/note, 4 mode arp for step edit, jump

Chords, scales, harmony, melody, etc.
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KVRist

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220 posts since 9 Aug, 2013 from The Hague, The Netherlands

Post Thu Mar 04, 2021 1:11 pm

Please update your ChordLord..
Updated to version 3.05.235 - button size to choose, minor bugfixing..
ChordLord at the Renoise Tools section

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KVRist

Topic Starter

220 posts since 9 Aug, 2013 from The Hague, The Netherlands

Post Thu Mar 04, 2021 5:46 pm

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!

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KVRist

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220 posts since 9 Aug, 2013 from The Hague, The Netherlands

Post Sat Mar 06, 2021 9:11 am

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

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KVRist

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220 posts since 9 Aug, 2013 from The Hague, The Netherlands

Post Wed Mar 17, 2021 4:21 pm

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

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KVRAF
21334 posts since 20 Oct, 2007 from not here

Post Sun Mar 21, 2021 10:15 am

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.

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KVRist

Topic Starter

220 posts since 9 Aug, 2013 from The Hague, The Netherlands

Post Wed Mar 31, 2021 6:01 pm

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.

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KVRAF
21334 posts since 20 Oct, 2007 from not here

Post Wed Mar 31, 2021 10:43 pm

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.

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KVRAF
21334 posts since 20 Oct, 2007 from not here

Post Wed Mar 31, 2021 11:32 pm

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

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220 posts since 9 Aug, 2013 from The Hague, The Netherlands

Post Fri Apr 02, 2021 2:15 am

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.

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KVRist

Topic Starter

220 posts since 9 Aug, 2013 from The Hague, The Netherlands

Post Thu May 06, 2021 2:54 am

More translations and the English manual are available..
Forum topic: 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 ..
Version in Italiano: https://renoise.com/tools/AccordoSignore ..
Version in Deutsch: https://renoise.com/tools/AkkordMann ..

To click chords. To hear live (with OSC enabled) or to put to pattern (with Record on).

For (free demo) Renoise 3 or higher: https://renoise.com/download
registered users of Renoise can download their copy via the backstage.
Renoise is a tracker (line-per-line in time) D.A.W. music production interface.

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KVRAF
21334 posts since 20 Oct, 2007 from not here

Post Thu May 06, 2021 1:06 pm

"What you are literally saying is "Remove the minor #5 variations."
If I literally said that I will have said 'minor #5" and "variations".
1) again, "minor #5" is a nonsense. I would not say it.
2) variations has no meaning for this I can imagine

I don't know why "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" is difficult.

You have something which is this very simple thing you want to be something else, and it simply isn't.
B E G is an E minor chord. There is no reality for a B E Fx, it's just a misspelled B E G. Do you know what an augmented chord sounds like? One supposes you don't. The minor triad sound of this is obvious.
This looks like it's all entirely abstract for you.
We will see that there are several actual triads which could be the core of "Bsus4 #5 b9 #11", none of them from B.

In the abstract there is a single principle you need to be aware of: if a chord - in the style where tertial constructions are prevalent - may be easily spelled by thirds, your more complicated construction will not be true, because the properties of a quality of a chord are perceivable. This is never going to be heard as a B harmony. It has no resemblance at all to an augmented chord. The whole point of a +5 in a tertial harmony is *augmented chord*.

One more time and I'm outta here: B to E is a P4th, and B to G is a minor 6th. This is an E minor chord in 6/4 position. B to E is 4, B to G is 6.

Now we may deal with your purported b9, C. Our harmony now is B E G C.
E G C is C major in 6/3 position. E to G is 3, E to C is 6. But we have this B to explain.
B to a C is ^7. So now we have two good names for the thing potentially. [/n means n in the bass]
1) is Em add m6/B. A bit odd but I've seen it, and I've seen it recently. I'd prefer not, because:
2) is C^7 in 4/2 position (B to C is 2, B to E is 4), in a lead sheet, C/B; is simpler

Ok, and this is the point: notice we have two good, useful names for this four-note construction constructing it normally. To get to your name requires a number of extraneous assumptions that replace knowable, basic intervals with vagaries.


No, what you're doing is the opposite of something made for usage. The more abstruse of these (real results) are not unheard of, but you're just piling stuff on for complexity's sake and getting far far away from useful names or what works.
Feel free to ignore me or everybody, but it's irresponsible to push a website containing huge mistakes, you will lead people down blind alleys, to nowhere.

KVRist
32 posts since 4 Aug, 2020 from Montreal, Canada

Post Thu May 06, 2021 4:30 pm

Time to grab my guitar and learn to be a Voicing Lord!

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