Quote Originally Posted by Robertkoa
@Durban - was....... a nice place to be ...

uncharted territory . yes

Write your own cadences and figure out why they work later ...lol. yes of course

know what you mean re: uncharted dont worry there are only 2 two chords eg vanilla

CM Am Dm G7 = 2 chords by CMaj i really mean Am9 or Em7 = CMaj9 no root etc etc and Dm7 - D

Gb C G (Dm11b5) is = 6 other chords etc move that Dmin on ST5 Fr5 up 3 frets now a type of G7 ish

or Fmin ish (haha) again, could be 6 other chords now you will hear exactly where it could/needs to go


Q. does Dm11b5 (half dim) no 3rd equal E7#5#9 no Root
A. Yip


Q. does this mean it is Fm6/9
A. If you want it to


Q. Are you making this up.
A. Yes........and just for that, i now hear as Ab


Q. Ab boy or girl or what?
A. both but with a leaning towards Lydian ok AbM7#11


Q. Can you still call it more names?
A. If you want to......................


just messin here trying to get away from 2 5 but its handy to sometime use as a reference prolonging tonic and V,or renaming blah blah

if i had not called Dmin Dmin but something else, likewise the G chord, one can now see how unconnected things may seem.

Its largely taste and compositional skills to assemble/build/create a progession of tune song what ever you want to call it. this interests me.

Chick Corea use these tricks/devices whatever you want to call it. Take Windows 3/4 first chord

B-7 second chord is G#m7b5 = Bm6 this type of thing can be highly ambiguous, but it also has a very strong Tonal area/region pull, plain old D

Back to the Q & A Eg AbM7#11 Lyd could be Dominant E7 of AMaj or minor

Play Bm9 AbM7#11 AM7 or Am7 etc etc Give a bossa Mambo Spin for flavour, voila new progression type thing you get the drift add chilli & garlic as needed.