aren't this only 4 chords? the intervals stay the same, no matter which base note is used..
also try out some inversion of the chords, like for example:
c7: -5 -2 +3
the inversions often sound better than the base chords
i think you don't need much more chords, as long as you don't want to do some jazz. but then, you're still limited to 4 notes. which additional chords are you looking for?
Nice one. You don't have to write down the same chords for each key. I'd do it like this:
Triads R +4 +7 Major R +3 +7 Minor R +4 +8 Augmented R +3 +6 Diminished
7ths R +4 +7 +11 Major R +3 +7 +10 Minor R +4 +7 +10 Dominant R +3 +6 +10 Half diminished
So you can replace 'R' with any note, and still get the chord specified. I.e., the major chord with a root of D is D-F#-A (D +4 +7) and the major chord with a root of E is E-G#-B (E +4 +7).
For chord inversions, subtract 12 from a number to invert the interval.
here's a fun tip that took me a while to figure out:
you can do chords with voicings spanning more than the standard +/- 12 semitones. you just have to make the root note you play on the mnm one of the secondary chord notes, like the second note, Eb, in the following:
C Eb G D
With a straightforward setup you'd make the root C, and because the D is either two steps up, or fourteen steps up (next octave, out of range of the +12 max), you'd have to go with the voicing:
C D Eb G (which sounds more dissonant).
The way to get the former is to use Eb as the root note, and set the ens to go down a few tones to the C, and up to the G and D.
@synthetique, it's like teacherofstalker detailed.
The basic idea is if you can't fit root + all the pitches for your chord because they would go over the +12 step limit, you "move" the midi base note of the chord to something other than the bass note, and use the ens pitches to tune the notes above and below.
instead of
C [E G D]
with E G D being the ensemble notes
you do
[C] E [G D]
where E is the new root note, and C G D are the ensemble notes.
)
