Moody, I agree - and it definitively has its place. I tend to arrive to it sometimes rarely out of voiceleading in modulating passages. Sometimes you just hear someone using it a bit too haphazardly on what was supposed to be tonic in a tune where the tonic obviously should have been bit more resolved.jancivil wrote: Sat Jun 12, 2021 4:42 pm m^7 *is* very moody. I gravitate to it frequently in part-writing, I guess because it's so effective and I enjoy it. or just the intervals m3 and M7, 'D F C#' however it figures in.
Last song that we're planning to make for our album actually uses it nicely for modulation, and found a nice use for a m7b5 too: https://vocaroo.com/1hJ4H25phlfB (this being just the framework for the songwriter)
Eventually I want to make something where the mM7 actually acts as a point of rest, but gotta flesh out an actually musical idea for that. Bluesy tune, perhaps?
