How to get chord extension numbers higher than 13?

• Apr 11, 2017 - 11:57

Hi all!

I need help with getting MuseJazz chords to correctly chords like C+7#9(b15)/B, which instead gets displayed like:

Incorrectly rendered flat fifteen

I've tried editing chords_jazz.xml by adding this:

{syntaxhighlighter brush:xml}

m:0:&ext; e1 e4 m:0:-&ext;

m:0:&ext; e1 e5 m:0:-&ext;

m:0:&ext; e1 e6 m:0:-&ext;

m:0:&ext; e1 e7 m:0:-&ext;


I'm not too sure how XML styling actually works, so I'm just following the pattern based off what's already there. I'd love to know what I'm missing here haha.

Attachment Size
incorrectly-rendered-flat-fifteen.png 5.84 KB


Ahh managed to fix it after looking carefully through the whole file. There's seems to be a typo in chords_jazz.xml!

I changed:

{syntaxhighlighter brush:xml;first-line:376}

m:0:-&modn; s1m:0:&modn;



{syntaxhighlighter brush:xml;first-line:376}

m:0:-&modn; s1 m:0:&modn;


And now it works! Sneaky whitespace got misplaced, I guess :P


Attachment Size
itworks.png 9.2 KB

Thanks for catching this, and to Jojo for fixing it!

However, I m quite confused about what you are trying to convey with "b15". This is not a standard chord symbol. Are you developing your own experimental notation, or ???

In reply to by Marc Sabatella

I totally understand where you're coming from, it's not everyday you see '15' being used in chords haha.

In C+7#9b15, the b15 is necessary because the chord already has a minor/dominant 7th as implied by the +7 part. Putting "natural 7" would override the minor/dominant 7th as a major 7th, and putting b8 / b1 won't look nice because people see the 1st degree and 8th degree as the 'root' and shouldn't be tempered with.

The b15 implies that you should keep the root as the root, the minor 7th as the minor 7th, but also add a flat 15, (effectively a major 7th). Hence, the chord contains the notes C E G# Bb D# Cb.

In reply to by matt28

C+7#9b15 simply won't make sense to any other musician, though, because it is incorrect notation according to the standard way chord symbols are written. Really, there is no reason in the world to add the b15 there - just saying C7/B makes it clear enough already you want the B, and better yet, it makes it clear *where* you want the B (in the bass). Having a bass note that is not in the chord is perfectly common and would be understood by any reasonably experienced musician.

In reply to by Marc Sabatella

The B also appears elsewhere in the voicing I use, not just the bass. I like to use b15 to describe a characteristic minor7 - major7 sonority, of which I often voice a major 7th apart with my right hand. I have to agree with you that this is definitely not conventional notation of chords - I'm writing these verbose chord symbols from an analytic aural perspective of characterising these specific sounds, and not for musicians who want to use this as a chart to sight-read. I would definitely change this to a C-7 on E major polychord before distributing this for the general audience (even though I don't really envision it as a polychord)

On a side note, those familiar with Jacob Collier's approach to harmony would understand the implications of b15/#15 (such as to achieve hypo/hyper modes and weird sonorities/voicings of otherwise common chords), and I'm also trying to leverage on what Jacob Collier has 'revolutionized' in a way. I wouldn't really see this as "incorrect notation" though. There's nothing theoretically incorrect having b15 appear in a chord - it means exactly what it says, I'd just say it's not something you would see commonly due to it's verbosity.

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