Originally posted by chris mood
I like all your ideas, they sound nice, it's hard to make the maj.4 chord work in minor

Yeah it is. Using inversion have an uncanny way of making chord progressions that normally wouldn't fit together possible. Also they can make your sound alot thicker and smoother, like you said.

I like how they make them smoother particularly because it's easier to write a melody (in my opinion) over it and give it more attention. As you can probably hear they are softer and less jumpy, so they don't pull the listener to there attention. With a nice melody, the chord progression happens almost without the listener even noticing it. A key in the pyschology of music. I love it.

Like I would play the second as such:

e:--3--2--3--3--2--0--2--3--
b:--1--3--5--5--4--x--3--1--
g:--2--2--4--5--4--5--4--2--
d:--2--0--3--5--x--3--0--2--
a:--0--0--x--x--0--0--0--0--
e:--------3--3--------------


try this.
Amin, D, G7, C, F, B7, E7, Amin.

*you could even do something like Christoph did and switch the 6 chord and 5/5 around

Amin, D, G7, C, B7, F, E7, Amin.

These are nice, very moving and I do like them. I can tell your a jazz musician just from the way you move from chord to chord. D - G7 - C. However try playing the C as a minor chord before going to B7 instead. In the first one, play both C and F as minor chords. And play the F in first inversion (x03211). Even try the B7 as Bb7, in the first especially. Kinda like that too, I dunno.