Chord Clash in Java

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Chord Clash
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Chord clash was discussed in 8, and this kind of clash can actually be cured by proper arrangement. As previously mentioned, the level of chord clash is primarily determined by the number of shared pitches between the two chords. Two songs may sound great together for the most part, but all of a sudden there seems to be a sour note or dissonance. It doesn t last long, but it is noticeable. In 8, the possibility of raising or lowering the pitch of one of the dissonant parts was brought up as one possible solution. But now that you are rearranging the parts of the song, there are new possibilities. When you re rearranging individual measures of a song, probably instrumental sections work best, but don t be afraid to shuffle your vocals about either, as long as the lyrics still make some sort of sense.
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When you re rearranging your chords, remember to consider the principles of placement preservation discussed earlier in this chapter. Although the need to find a compatible chord dominates the decision-making, if you can move a segment four or eight bars, it may be preferable to moving it three or five bars.
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Figuring out chords and chord progressions can be tough, and if you can find a solution by trial and error, it may actually be quicker. But if you are willing to spend a little time and energy on the problem, you may find some elegant solutions you didn t expect. Here s an example of chord clash. Suppose you have two tracks, both in the key of C. Track one has a four-bar repeating chord progression of C major, F major, G major, C major. The other track has a four-bar repeating chord progression of C Major, A minor, F major, G major. The two chord progressions are illustrated in Figure 11-15.
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C major Track 1 Track 2 C major A minor F major G major F major G major C major
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FIGURE 11-15: Example of chord clash, with the third pair clashing the most
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11 Arrangement: Putting It All Together
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In Search of the Lost Chord
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If you want to resolve chord clash, it might be useful to figure out what chord is playing. Figuring out the chord is a lot like figuring out the key, which was covered in 6, in the Key Detection Techniques section. A chord progression is a lot like a rapid series of key changes. Each chord has a new root and at least two other pitches, usually each falling on one of the seven pitches in the current key. The difference is that when the chord changes, the entire scale does not change. A key consists of an entire scale of seven pitches, and a chord usually consists of three or four pitches. Probably the easiest way to determine a chord is to isolate just the section with the chord. In ACID, solo the track with the chord in question. In the Transport bar, click the Loop Playback button. Drag the cursor across the beat ruler above the timeline, and select just the portion of the track that contains the mystery chord. The simplest thing to do is to use the chord MIDI files on this book s CD-ROM as described in 6. Because there is only one chord in your looped selection, when you layer a correctly transposed MIDI loop with the mystery chord in your track, the correct chord should be even more obvious than when you were figuring out the overall key. As discussed in 6, you can also use ACID s built-in piano, and follow a similar technique to figure out which pitches sound most at home with the current chord. Usually, but not always, the bass note is the root of the chord. If you can play a pitch on the piano that sounds the same as the main bass note for the section of audio, you may have figured out the root of the chord. Play each of the pitches three and four semitones higher. If the pitch three semitones higher sounds good, your chord is probably minor, and if the pitch four semitones higher sounds good, your chord is probably major. In the worst case scenario, where you can t figure out what a certain chord is, write down which pitches sound best with it. Even a partially recognized chord may be useful.
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For the sake of thoroughness, inspect each chord pairing and resolve chord clash one bar at a time. For example, using the chord clash shown in Figure 11-15, here s what you ll find: 1. The first pairing, C major versus C major, has three of three pitches identical and needs no adjustment. 2. The second pairing, F major versus A minor, has two out of three identical pitches. This is often an adequate level of compatibility and may not need any adjustment. 3. The third pairing, G major versus F major, has no identical pitches, and is the most severe chord clash of the two progressions. The incompatibility will need to be fixed. One solution is to simply transpose either the F major up two semitones or the G major down two semitones. That would make the chords identical and completely eliminate the key clash.
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