When BE split the pedal....

Mike Sweeney · Post by **Mike Sweeney** » 26 Sep 2003 7:17 am

Richard,

The story you heard is what Jimmy Day himself told me and Bryan Adams in Knoxville 10 years ago. This is what I was going by for my point.
So as far as I'm concerned, it doesn't matter anymore. I'm going to let it go since Jimmy aint around to tell his side of the story anymore.

Mike Sweeney

Buddy Emmons · Post by **Buddy Emmons** » 28 Sep 2003 9:43 am

I appreciate it not mattering to you Mike, because it doesn’t matter to me who Jimmy told the story to or how many times he told it; the facts remain the same.

Richard Sinkler · Post by **Richard Sinkler** » 29 Sep 2003 6:17 pm

Thanks. I have been re-educated.

Bobby Lee · Post by **Bobby Lee** » 29 Sep 2003 8:16 pm

Ok, being trained by a Julliard "Ole mama lion", she drilled and grilled into my head many things about musical theory. And one of the things she taught was; if you can only play two notes in a 7th chord, the notes must be the 3rd and 7th tones of that chord.

I've always found it interesting that those two notes by themselves imply two different 7th chords. For example, take B and F. They could be a a G7 or a C#7.

A related phenomenon is the two ways that the interval can resolve. You raise one a half step and lower the other a half step. "Inward" or "outward":

B-F resolves inward to C-E (G7 to C)
B-F resolves outward to A#-F# (C#7 to F#)

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Jeff Lampert · Post by **Jeff Lampert** » 30 Sep 2003 12:07 pm

A related phenomenon is the two ways that the interval can resolve. You raise one a half step and lower the other a half step. "Inward" or "outward":

This is at the heart of the musical concept of "tri-tone substitution". The G7 chord in the previous example can be replaced with the C#7 chord in many cadences because they share the same tri-tone B-F interval. As an ancillary point, the C# root moving to the C chord further intensifies the resolution.