So why did you reply? Attention? Trying to retain your position as Mr Insulting?
The reason is quite clear. You know there is nothing to say against what I said, so you are doing the little schoolboy thing and just saying anything to try to remain looking clever.
How sad. I hope this entire thread is deleted by the moderators around here. I have never heard of such a place. I post a useful thing and now we are here.
W@nker.
LOL i love that its hypocrisy to you for for me to say thank you.and you have really missed the point that we dont care about your airplane talk.
you made intelegent responses seeking harmony? lol...ummm..no you didnt
the age thing cracks me up. i love how you say everything i think is valid if im at the age you set for what i said to be valid but not younger.
and i would love to sit and chat with you somemore about this but i have to drive 1700 miles so....to bad for me your not my best friend and can tell me all about your greatness and harmony while you fly me there...lol
Its not an age I set, its an example age. Now you're being just like the other guy. Picking at anything to try and sustain. Dont LOL me, and say I dont know what I'm talking about.
This is the biggest nonsense I have ever had the misfortune to be involved in. I regret posting.
Please, in detail, if possible, explain to me how someone with no or very limited experience has the same weight in a conversation as somebody with 20 times it?
You're going to get along here just fine I think.
Welcome to IBM
Of course I see your point about the experience, however, do we ignore those younger or more inexperienced than us completely simply because they are younger and more inexperienced?
Is it not possible that a younger person has any chance of having a valid point at all?
I apologies for the insult, it isnt my usual style, however i was angered enough to react. I shouldnt have. I'm sorry.
Last edited by UKRuss; 08-28-2005 at 03:50 PM.
What a wonderful world that would be.
It isn't like that in Byfleet? ...you surprise me.
Well, you did start with a good post, but you quickly took up a malicious tone with GrantMe, while you could have debated him in a more civil manner. Just chalk it up to a misunderstanding of his post on your part and let the negative vibes here subside. Let's swing back to some positive energy.Originally Posted by Jazzman340
Here here, Poparad!
Everyone, now.....carefully scrutinize the small pill cases you received via courier.....now find the large, yellow, round, double-scored (they're strong!) tablet emblazoned with the letters C - H - I - L - L. Break off 2/4 of the pill (that'd be 1/2) and swallow it.
Feel better?
I do Russ, I do.
This is not fun, an out of control insult spawning debate and I'm not participating in (or even better: starting) it...
Well, I'm off to do some meaningfull pratice, bye bye!
PS. Did you know that in a C blues a Cmaj7 arpeggio over the F7 chord sounds great? I figured it out, and I'm not even 25 years old, woohoo!
PS2. Or try an Db triad.
Stop talking about modes and start working on your groove.
Thanks Guys that was really exciting .............I used to live in Guildford ....Ehh ...Surrey ...horrible place full of.....wankers!!!! Nice try Maarten! Cmaj7 over F7. I'll have some of that. I was in Amsterdam a while back loved The Bubblegum .Peace and luv brudders! Innit?
Db7 is hip. Even better than a Cmaj7 arpeggio is a Cm-maj7 arpeggio. That way you still get that B natural, plus the Eb which fits the chord, and you get that weird sound of m-maj7.
How do you guys go about finding these chords? From taking the chords from diatonic progressions and moving from there? Or something else? Cuz Db7 over F7 seems strange... that F#, blue note, Ok. But I don't follow how you "think" your way there, listening/hearing your way there seems natural though.
They call them fingers, but I never see them fing.
Hey, Poparad and Maarten got any interesting scalar ideas for that chord sequence that I posted under Chordal Explorations! Mebbe this'll get this thread back on track.Ahhh Yeah!
Oops, you're right, that's what I meant. Usual approach is Cm7 over F7 for a sus4 sound (check out "Eighty One" from Miles' E.S.P.), Cm-maj7 for a #11.
Why Db works: The bars of F7 are just a temporary step away from C7. Db can have the same function (Try playing the roots: C - F - C and C - Db - C, same effect, different sound) so you can substitute one with another.
Following that logic Bb and Eb should also work (though since they are more consonant with F7 the effect will be weaker which can actually make it harder to play something good).
Stop talking about modes and start working on your groove.
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