This is an idea taken from an intro to an arrangement I did on my second CD. A fairly regular two chord progression with a twist.
Basically it's a V - I, G Major 7/A to F + Major 7/D. The twist is (as I use it here) letting the F# from the V chord hang on into the chord change to the D minor. You then get the major third sharing space with the minor chord. This sound intrigues me a lot and I don't often hear it used outside pretty modern music, mainly contemporary classical.
I've been playing with this sound, now that I think about it, for a long time. I can remember pissing off band mates decades ago using major over minor. It's a tough sell as it's not nearly as common to our ears as minor over major which is a cornerstone of blues - jazz music. Part of the intrigue is how different these two usages of the same thing are. It's basically just a register swap. I've concluded that the most obvious aspect is the major third over the minor third is an interval of a minor ninth, arguably the most dissonant there is. Just reversing it so the minor third is above the major third gives us an interval of a major seventh, an interval we've gotten way used to and even hear it filled in as pure beauty, even sappily so!
I could really go on and on with the two thirds together line of gab as I spent most of my performing career to this point playing blues. I'll save the rest.
Basically it's a V - I, G Major 7/A to F + Major 7/D. The twist is (as I use it here) letting the F# from the V chord hang on into the chord change to the D minor. You then get the major third sharing space with the minor chord. This sound intrigues me a lot and I don't often hear it used outside pretty modern music, mainly contemporary classical.
I've been playing with this sound, now that I think about it, for a long time. I can remember pissing off band mates decades ago using major over minor. It's a tough sell as it's not nearly as common to our ears as minor over major which is a cornerstone of blues - jazz music. Part of the intrigue is how different these two usages of the same thing are. It's basically just a register swap. I've concluded that the most obvious aspect is the major third over the minor third is an interval of a minor ninth, arguably the most dissonant there is. Just reversing it so the minor third is above the major third gives us an interval of a major seventh, an interval we've gotten way used to and even hear it filled in as pure beauty, even sappily so!
I could really go on and on with the two thirds together line of gab as I spent most of my performing career to this point playing blues. I'll save the rest.