Finale Blog: Now these are Chords

by Tom Johnson 2. November 2010 08:06

In my last post I suggested a tricky use of Finale’s Chord Analysis plug-in, where we used it to create some solfège syllables. This week I thought I’d show you a more common use of the plug-in, namely to automatically add chord symbols to your score.

Let’s say you're preparing some holiday music and you need to quickly come up with some chord symbols to help a guitarist play along on something like this:

To automatically add chord symbols:

  1. Choose the Selection tool and indicate the measures where you’d like chords to appear. Want them to appear in all measures? Type CTRL-A (COMMAND-A  on Mac) to Select All.
  2. From the Plug-in menu (the “plug” icon on the Mac), choose “Scoring and Arranging>Chord Analysis.”

  3. Above I’ve specified that I’d like a chord symbol on “All down beats,” and that I don’t want to “Allow repeated chord symbols.” I also deleted the two question marks following “Show unknown chord suffix as.” Had I left them in, I would have seen the “??” whenever Finale was uncertain about a chord suffix.

Here are the results:

I think that’s pretty slick; while you might occasionally edit the results here or there, this plug-in gets you in the ballpark fast!

What do you think? Please let me know by clicking on “Comments” below!

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General | Tom Johnson

Comments

10/30/2010 3:34:16 AM #

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10/30/2010 4:21:33 AM #

Derrek

I thought "down beat" and "first beat of measure" were pretty much the same thing. It seems as if the middle option should be "on each beat of measure" or something similar to avoid confusion. (Not that that could be corrected in a blog; it's just a thought.) The use of the tool does look cool though.

Derrek United States

10/31/2010 3:08:53 AM #

Brian

when I want a certain inversion of a chord, instead of using a dash (D/A) I hit shift & - (which creates this D_A) Once you hit enter or move on to the next chord, Finale puts the A directly beneath the D. I like that look better.

Brian United States

10/31/2010 4:58:42 AM #

Kurt Weber

I haven't had good success with this plugin but your suggestions might solve the problems I've had. (?? and extra chords listed) You might still have to add some chords in yourself but it should get most of them right. Thanks for the tip.

Kurt Weber United States

10/31/2010 9:13:04 AM #

Scott Yoho

Hi Derrek,

Thanks for the suggestion that we re-word the second option.

Best wishes,

Scott at MakeMusic

Scott Yoho United States

10/31/2010 9:18:23 AM #

Scott Yoho

Hi Brian,

Where I come from D/A means a D triad with A in the bass. What you describe (something that looks like this):

D
-
A

I would interpret as a D triad on top of an A triad. I recognize this interpretation may not be universal. I'd be interested to hear from others on this.

Best wishes,

Scott at MakeMusic

Scott Yoho United States

10/31/2010 9:20:13 AM #

Scott Yoho

Hi Kurt,

I'm glad Tom's tips helped. My experience is much like yours -- I find this can often save me time, but may still require occasional tweaking. It's good to know humans are not made completely obsolete! <g>

Cheers,

Scott at MakeMusic

Scott Yoho

11/1/2010 3:59:25 AM #

Shawn Degenhart

Brian, I've always interpreted both of those mthods to mean a chord over a bass note, whether it's D/A or D over a dash and A underneath.

Shawn Degenhart United States

11/1/2010 6:59:58 AM #

Scott Yoho

Hi Shawn,

Thanks for the input!

Scott at MakeMusic

Scott Yoho

11/1/2010 7:38:58 AM #

Daniel Menjivar

I never knew about using the underscore for polychords - I haven't needed it yet, but it's great to know that there is a way to do this.  I noticed that it does let you set a suffix for the top chord, but not the bottom chord.  So notating:

DMaj7
-----
C

is possible, but not:

DMaj7
-----
CMaj7

(which is not the same thing as CMaj7(#11 b9) [C E G B D F# A C# vs C E G B Db F# A C] nor Dmaj7/C [C F# A C] but I don't think that this post was supposed to be about jazz theory anyways Wink )

Though I do use slash chords all the time, I haven't needed to use polychords in any of my charts yet, but I have wondered how to accomplish this in Finale - and now I know!  Thanks.

DM

Daniel Menjivar Canada

11/1/2010 8:14:19 AM #

Scott Yoho

Hi Daniel,

You're welcome. Sadly, my experience on the bandstand is that when I want:
D
---
B

I write B7 b9, and I'm less disappointed with the results (at least it's a dominant chord). Despite what might be "correct" many will interpret the above as a D triad with B in the bass.

Scott at MakeMusic

Scott Yoho

11/1/2010 3:52:39 PM #

Daniel Menjivar

Hey Scott:

First, in my original comment, here's a correction:

(which is not the same thing as CMaj7(#11 b9) [C E G B D F# A C# vs C E G B Db F# A C] nor Dmaj7/C [C F# A C] )

should read:

(which is not the same thing as CMaj13(#11 b9) [C E G B D F# A C# vs C E G B Db F# A C] nor Dmaj7/C [C F# A C#] )

Also, I overcome your example by literally spelling it out this way:

D triad
------
B triad

(Which is actually the same thing as B7(#9), no?)

Most musicians I work with understand that slash chords (D/B) are not the same thing as poly chords (like the example above) but I can see how not all musicians, especially (perhaps) classically trained musicians, might not understand that at first glance...

Anyways, that's enough theory for today, no?  Wink  Thanks again for the great tip!

DM

Daniel Menjivar Canada

11/2/2010 1:30:43 PM #

Scott Yoho

Hi Daniel,

Thanks for the corrections. You are correct (and I was in error) that the polychord is essentially a B7(#9) rather than a B7(b9) as I wrote, however I think the voicing implied by the two triads would likely differ from a generic interpretation of B7(#9), or at least it would in my mind.

Your suggestion of writing out "triad" certainly clears up any ambiguity.

Best wishes,

Scott at MakeMusic

Scott Yoho United States

12/30/2010 5:43:14 PM #

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