Martin:
     
     12-tones?  Huh?  I WISH I had the patience to work that mess out!
     No, actually, I'm somewhat of a fan of dissonant music.  Coltrane, 
Dolphy, later Ornette Coleman, especially Monk, McLaughlin, some King 
Crimson,...very effective in the hands of masters who know how to resolve 
dissonant notes.
    
     But I stick to my statement.  Now, you can go on and write a song with 
F# to Am, and you can make it work by tying it together with a good melody, 
but the theory scholars who hear it are still gonna shake their heads when 
they hear that progression.  In my experience, F# to G#m works, F# to Bbm 
work, F# to B or Bmaj7 works, F# to E works, F# to C#m works...but!!!
    
     Still, if the songs please YOU, the writer, then fine.
     
     Gary
--- Maximus 3.01
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