Not just 7 notes.
Binding for all 12 notes of the chromatic scale, 7 octaves.
Pads page showing 7 rows of 12 columns (7 octaves of all 12 notes).
Option to “repeat at the octave” so filling out one octave of chords could then be auto-filled and auto-transposed to the rest of the keyboard.
Make options to harmonize from the top note down, not just the bottom up.
As an example, think about playing the C maj scale with the chords harmonizing below the top note, therefore harmonizing your melody.
Not just 7 notes.
You can bind White notes or chromatic or true scale. It’s under the Gear on the upper right. If that’s what you mean. Lasso all patterns to play through all filled pads.
So, as a test I decided to make harmonized diatonic 3rds (with chromatic 3rds on the black keys). I have to say that this is a very gimpy condition:
I can only fit 4 octaves, so flat out harmonizing the whole keyboard is out of the question.
Fitting 12 chords to 8 pads per row is an eyesore, proportionally.
Copy and paste of each octave has to be done manually, first by copying the octave, then by editing the octave playback of the new pads (otherwise they will just playback identically to the previous set).
Copying more than one octave at time produces errors, putting many of the pads out of order.
There are no options to switch the octave or semitones of the whole set at once,
meaning making a whole new set for other keys and other octaves would be just as time consuming as making the first set. Making one for Db also means moving those bindings all up 1 semitone, and I don’t see an option for that either.
The dynamic voicing option, if turned on folds all of the chords back into one octave, making the other 3 useless.
Overall, not a very attractive method of harmonization,
I’m surprised there are not methods of turning on parallel harmonization by interval.
Add 3rds, 5ths, 7ths (and others obviously) as you like, above or below your principal note. A couple switches and you could get the whole keyboard covered.
You can right click on a chord in section C and generate parallel harmony which as the name implies will just generate the same chord transposed by 1 semitone across the keyboard. I guess we could expand this menu to generate 3rds, 4ths, 5ths, 6ths etc. This would be useful and that’s a good idea. Not sure if that is exactly covering what you want as you are suggesting diatonic generation too?
Yes, something like that would be useful.
A button or switch for the parallel mode would turn this feature on. Then a button/switch to force scale to make the parallel harmonies diatonic to whatever scale has been chosen in the scale browser.
The interface could be as simple as clicking the notes on the keyboard, with C assumed as the root. If you want 3rds, just add the E or Eb above. If you want to add a major 7th below the root, click Db key below the C root. Click as many notes as you like. In chromatic mode playing any of the 12 notes on the keys will produce that exact voicing from the new root. In diatonic mode the notes will get forced/remapped into the scale.
Also, perhaps an easy key split mode with a sliding marker for the top and bottom keys to be effected by this feature. That way you could keep the bass range out as needed, or leave room for pad chords in the middle range, while you play your parallel harmonies with the right hand.
So I generated parallel from a chord pad and I only get 2 octaves.
Is there any reason why I can’t bind notes to the entire keyboard?
I’m not understanding the point of this limitation from a playability perspective.
Use Pad Mode. Populate a Scaler with eight chords per pattern in eight patterns. Select all patterns. You get 64 keys bound chromatically. I prefer using Chromatically bound keys since it makes it easier to transpose bound key switches up to accommodate a developing set of Patterns in a project.
If find using the Edit page is often the fastest way to adjust chords that need to be moved up or down or inverted, etc.