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

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.

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

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.  

michaelhanson
 
I think I will just play it by ear.  

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

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

bapu

          Beagle will gladly listen to you play by ear as long as there is becan involved
                    
 
Kenny

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.
 

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