I'm curious about something... (I'll use Blue Bossa in alto key as an example).
The first two measures are an Amin7 to a Dmin7.
The color tone I usually go for on these chords are the G# and the C# as some kind of a 'pivot' sound that I can sit on a little bit then resolve to the next one.
By all rights and means, it strikes me that logically, you're playing the major 7th over the minor 7th chord, which by all rights and means, should sound pretty ugly, right? But it doesn't (to me) as long as I resolve it.
Why does that work?
Edit: Here's a sound clip of the first two bars of Blue Bossa to illustrate what I'm talking about.
The first two measures are an Amin7 to a Dmin7.
The color tone I usually go for on these chords are the G# and the C# as some kind of a 'pivot' sound that I can sit on a little bit then resolve to the next one.
By all rights and means, it strikes me that logically, you're playing the major 7th over the minor 7th chord, which by all rights and means, should sound pretty ugly, right? But it doesn't (to me) as long as I resolve it.
Why does that work?
Edit: Here's a sound clip of the first two bars of Blue Bossa to illustrate what I'm talking about.