>Okay, let's see if there's somebody out there who REALLY knows about some
>composing!
>        I'm using a Fender guitar .  Okay, I got this Billy Holiday
>song that I'm arranging, and I got it going like this:
>        C....................C#dim7..................D9
>"I fell in love with you the..first time I looked into
>        G13
>Them there eyes..."
>[Okay now i want a slight variation on that same pattern, something else
>that will work with the same melody, so I got as follows....]
>        C.....................C+5...................
>"You got a certain little cute way of flirtin' with
>        D9
>"Them there eyes......."
>[Okay? Now I want a third variation.  I tried a Am7flat5, and while it
>works, I just don't like it much; I'm talkin' about a replacement for
>that second chord.
Count up a tritone and play a Dominant 7 chord for it. Try Ab7 in there. This
is what is called Tritone Substitution, and it's very popular in post-swing 
era
Jazz.....
>        Have enjoyed reading in this echo, hope I didn't insult anybody,
>in case nobody here knows any music theory.  It's okay not to know
>something.  What ain't okay is the kind of stupid, defensive, lame
>excuses people tend to give instead of saying, "Like, I don't know about
>that."  Worst of all is when they turn around and insult you for knowing
>something they didn't.  If I was the King of the World, I would arrest
>those people and sentence them for 3 months to the Geek Cage at the
>nearest carnival. 
There seems to be some kind of mystique in being the "Untrained Artiste." I
find that a little theory (or in my case, a lot of theory and composition
technique) is very very useful in getting through those creative blocks.
Of course, people do react to all of the bad music that is theoretically
perfect. But of course, that's because music is still a thing of feeling...
Hmmm..... to paraphrase, "Theory under feeling shall be the whole of the
law....."
Have fun.
--- WWIVGate 1.12c
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