2017/08/02 17:24:19
kennywtelejazz
bapu
bayoubill
I use Am for everything now. For F#sus4 t00. Check it out and you t00  will use Am for everything 


Yeah Am makes a great Bbmaj7 in a pinch.




Yes that is true
 
Kenny
2017/08/02 17:25:04
bapu
kennywtelejazz
bapu
bayoubill
I use Am for everything now. For F#sus4 t00. Check it out and you t00  will use Am for everything 


Yeah Am makes a great Bbmaj7 in a pinch.




Yes that is true
 
Kenny


I've been Kendicated.
2017/08/02 17:27:56
kennywtelejazz
bapu
kennywtelejazz
bapu
bayoubill
I use Am for everything now. For F#sus4 t00. Check it out and you t00  will use Am for everything 


Yeah Am makes a great Bbmaj7 in a pinch.




Yes that is true
 
Kenny


I've been Kendicated.



 
Kenny
2017/08/02 18:01:20
michaelhanson
kennywtelejazz
Sure that is in fact a very good chord substitution in G Major 
If you take a G Major 7 Arpeggio you have most of what's in the F#sus 4 except  whats in the F# sus4 chord contains all the hippest  notes  you can  play over a G Major 7 th chord / tonality
G Major arpeggio  starting on the 7 th scale degree = F# G B D F# G B D F# G 
F # sus4 arpeggio ( eliminating the 3 rd scale degree ) starting on the 7 th scale degree = E F# B C# E F# A 
With the F#sus4 ,  what you have is a form of a pentatonic scale once you add the A note .
All the notes in that scale are excellent because they introduce the upper harmonic content of the tonality itself when played over G
example F# = Major 7 th of G .  A = 9 th of G , B = 3rd of G  , C# = the +4 of G , E = the 6 or 13 th of G , F# = the Major 7 th of G , rinse and repeat ...
The Logic behind the B Minor is also considered a nice jumping off point in G since the B minor chord  is so closely related to G Major . In Jazz when people play Standards they often will substitute a Minor chord a Major third above a Major 7 th chord ...The B Minor triad contains the third , the 5 th and the Major 7 th of a G Major 7 th chord
When playing a B Minor 7th chord over a G Major 7 th chord, the A which is the flatted 7 th of B Minor turns out to be the 9 th of a G Major 7 th chord ...all arel very choice notes to play over a G Major chord
The advantage of the F# sus 4 while in G is it introduces the C #  ..This G major now becomes a Lydian type of sound and and tonality the +4 C# is a very expressive note choice over G Major and it it is much preferable to using the fourth scale degree in G which = C ..
IMHO C# and D sounds way better than ever playing a C note over a G Major Chord ...
Also the F # sus 4 make a nice 5 chord tension cadence  when played just before  a  B minor  in G ...
 
 I'm still having my coffee so my explanation could have been better written  Oh well you get what you get 
 
Kenny




I think I will just play it by ear.  
2017/08/02 18:06:04
bapu

2017/08/02 18:20:29
outland144k
michaelhanson
 
I think I will just play it by ear.  




You could play it by nose (hopefully, when you don't have a cold).

2017/08/02 19:35:42
kennywtelejazz
michaelhanson
kennywtelejazz
Sure that is in fact a very good chord substitution in G Major 
If you take a G Major 7 Arpeggio you have most of what's in the F#sus 4 except  whats in the F# sus4 chord contains all the hippest  notes  you can  play over a G Major 7 th chord / tonality
G Major arpeggio  starting on the 7 th scale degree = F# G B D F# G B D F# G 
F # sus4 arpeggio ( eliminating the 3 rd scale degree ) starting on the 7 th scale degree = E F# B C# E F# A 
With the F#sus4 ,  what you have is a form of a pentatonic scale once you add the A note .
All the notes in that scale are excellent because they introduce the upper harmonic content of the tonality itself when played over G
example F# = Major 7 th of G .  A = 9 th of G , B = 3rd of G  , C# = the +4 of G , E = the 6 or 13 th of G , F# = the Major 7 th of G , rinse and repeat ...
The Logic behind the B Minor is also considered a nice jumping off point in G since the B minor chord  is so closely related to G Major . In Jazz when people play Standards they often will substitute a Minor chord a Major third above a Major 7 th chord ...The B Minor triad contains the third , the 5 th and the Major 7 th of a G Major 7 th chord
When playing a B Minor 7th chord over a G Major 7 th chord, the A which is the flatted 7 th of B Minor turns out to be the 9 th of a G Major 7 th chord ...all arel very choice notes to play over a G Major chord
The advantage of the F# sus 4 while in G is it introduces the C #  ..This G major now becomes a Lydian type of sound and and tonality the +4 C# is a very expressive note choice over G Major and it it is much preferable to using the fourth scale degree in G which = C ..
IMHO C# and D sounds way better than ever playing a C note over a G Major Chord ...
Also the F # sus 4 make a nice 5 chord tension cadence  when played just before  a  B minor  in G ...
 
 I'm still having my coffee so my explanation could have been better written  Oh well you get what you get 
 
Kenny




I think I will just play it by ear.  



 
Kenny
2017/08/02 19:41:40
kennywtelejazz
bapu





          Beagle will gladly listen to you play by ear as long as there is becan involved
                    
 
Kenny
2017/08/02 20:02:13
Glyn Barnes
kennywtelejazz
Sure that is in fact a very good chord substitution in G Major 
If you take a G Major 7 Arpeggio you have most of what's in the F#sus 4 except  whats in the F# sus4 chord contains all the hippest  notes  you can  play over a G Major 7 th chord / tonality
G Major arpeggio  starting on the 7 th scale degree = F# G B D F# G B D F# G 
F # sus4 arpeggio ( eliminating the 3 rd scale degree ) starting on the 7 th scale degree = E F# B C# E F# A 
With the F#sus4 ,  what you have is a form of a pentatonic scale once you add the A note .
All the notes in that scale are excellent because they introduce the upper harmonic content of the tonality itself when played over G
example F# = Major 7 th of G .  A = 9 th of G , B = 3rd of G  , C# = the +4 of G , E = the 6 or 13 th of G , F# = the Major 7 th of G , rinse and repeat ...
The Logic behind the B Minor is also considered a nice jumping off point in G since the B minor chord  is so closely related to G Major . In Jazz when people play Standards they often will substitute a Minor chord a Major third above a Major 7 th chord ...The B Minor triad contains the third , the 5 th and the Major 7 th of a G Major 7 th chord
When playing a B Minor 7th chord over a G Major 7 th chord, the A which is the flatted 7 th of B Minor turns out to be the 9 th of a G Major 7 th chord ...all arel very choice notes to play over a G Major chord
The advantage of the F# sus 4 while in G is it introduces the C #  ..This G major now becomes a Lydian type of sound and and tonality the +4 C# is a very expressive note choice over G Major and it it is much preferable to using the fourth scale degree in G which = C ..
IMHO C# and D sounds way better than ever playing a C note over a G Major Chord ...
Also the F # sus 4 make a nice 5 chord tension cadence  when played just before  a  B minor  in G ...
 
 I'm still having my coffee so my explanation could have been better written  Oh well you get what you get 
 
Kenny


Yikes, its Jazz and here is me going for a progressive folk vibe.
 
Anyway thanks for the explanation.
 
2017/08/03 00:19:49
kennywtelejazz
Music theory is only music theory after all hhhmmm, or something along those lines
 
Jazz ? did I listen to what people were telling me ? NO People tried to warn me Even Joe Pass
I took a bite out the Jazz Apple from the tree in the forbidden Garden and got my arse thrown out of Rock Star Paradise for good ....
 
Anyway , I should have listened to this fella he lead by example and stuck to 3 Chord Rock and Blues tunes ....
                         
 
 everybody knows who he is ....
 
Kenny
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