Dwayne, you hit the nail smack on the head ! :
<SMALL>Most of you already know more about music theory than you realize.</SMALL>
If I might add some ideas to what you said, (and hope others do too) to expand-upon the importance of what you said for some folks that might not more fully realize it:
----------
And;
<SMALL>A fun and easy trick to remember when working out chord progressions, trying to steer out of the I-IV-V, is just to sub in the relative minor or major and see how it sounds.</SMALL>
Indeed; The Amin7 2-fret fret box is the same box and identical notes to it's relative-Major C6(dom7), ...with the only difference in their chords in the box being that the signature chord for minors are on the nut end of their 2-fret boxes and the signature chord for Majors are on the bridge end of their boxes, ...BUT the remaining notes on the other end of their respective boxes are all notes of their scale too, so have the effect of tasty extensions without even having to think about it once we know the simplicity of the boxes' single template. And your next statement shows how such approaches fans out even further:
----------
<SMALL>An interesting tension can be created by throwing in a minor IV chord here and there. It sounds surprisingly jazzy and augmented over a full band playing a major IV chord.</SMALL>
Throwing in a IVmin7 is the same notes as a Imin7b6 (aka pure minor / Aolean); And that b6 does indeed sound jazzy because it's pure minor and is perfectly compatible with a Imin7 which substitutes for IVMaj. If we're vamping along in the C6 box, ...when the band goes to IV we can slide up 3 frets to Cmin7 (=Eb6 ... same notes!) and VOILA we're on the extension notes fret of the IVMaj box! ...And if we slide 3 frets up from the F6 / IVMaj to get the minor you suggested, we're at the Fmin7 which is identical to Imin7b6 / pure minor which is identical to the Cmin7 except it has that pure minor b6 that sounds like we know what we're doing even though we might (and in my case probably) not ! And dog-gonnit, had we simply moved our bar down 2 frets from C6 to it's full 13th extension notes ...we would have been on the Amin7 extension voicing fret! So let's see, that makes 3 different boxes to jazz up the IV or make perfectly harmonious minors for the I / Tonic! And YIKES, ...if we can do that for the IV tone, then darn, we can do it for the "I" and V tones too. Well shootz, then we can do it for any tone! Darn, ...might this be the way that some guys can follow tones up and down the neck with chords that are so harmonious (aka in-mode) ? ! ?
----------
<SMALL>If it helps, you can always take your familiar major tuning and just tune one string to give you the relative MINOR root note.</SMALL>
<BLOCKQUOTE><font size="1" face="Verdana, Arial, Helvetica">quote:</font><HR><SMALL>(i.e.) Take a [GBDGBD] "G Major" tuning and give yourself the relative minor, an E. Like: EBDGBD.
Hmm. And then you've just discoverd a 6th tuning. How funny.</SMALL><HR></BLOCKQUOTE>
yyyyyYEPIRrrrr; And it would also be identical in some voicing to all 7 modes of it's Major parent scale / chord !
----------
<SMALL>P.S. Someday, Denny, I'm going to have enough time to print out your website, all of your posts, collate them into a binder, and then me and my steel are going to take a week off to read through them.</SMALL>
Now even though that's a mighty fine and appreciated compliment to my soul (and ego darn it), ...it's darn sure glutton for punishment too! I'm not brave enough to try that! If I might suggest, printing up particular discussion chain SUBJECTS would be more fruitful by everyones' excellent contributions ...particularly Howard's; I have always treasured Merle Haggard's "being crazy to avoid going insane"!
Aloha,
DT~
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Denny Turner on 09 May 2004 at 05:56 PM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Denny Turner on 09 May 2004 at 05:59 PM.]</p></FONT>
