KFingers, you're right about F6 and Dm7, but it's a good thing that they sound different because they have a different feel and should be different. The same with Am6 and F#m7-5.

But what I mean is hard to explain. So I looked for a few simple examples.
If I play the notes c-e-g-b (Cmaj7) with my right hand and then c-e-g-a (C6), the leading note b to a goes down. Now I do this only with my left hand (ACMP ON). Then you hear the chord go up from c-e-g-b to e-g-a-c, so an inversion. It gives another feel than intended.

Now if you play f-g#-a#-d (Bb7) and you want to go up to B7: f#-a-b-d# you here B7 in a inversion moving down!.
Same if you come from B7 and you want to move down to Bb7, it sound like it is going up. Of course it's the right chord but it is sometimes not what you want to hear. And it doesn't matter if you play the chord f-g#-a#-d or d-f-g#-a#, the accomp. plays the same chord.

An other example: I already mentioned The Girl from Ipanema. Coming from Fmaj7, the second chord is G7 13 (f-b-e). While I move my left hand up to Gm7 (g-a#-d-f) you actually here the accomp. go down to (f-g-a#-d).

So there are all kinds of surprising things happening with the accomp. In Bluesette there is also a moment that happens, but you hear the guitar go up and the vibes go down, so that is nice.
Another somewhat difficult example is also in The Girl from Ipanema. In the middlepart I woudl like to go from F#Maj7 to F#m6. But then as I play F#m6 (f#-a-c#-d#) I can not play (with my left pinky) g# to g to f#. It doesn't sound right. So I had to change the second chord to B7, then g# to g to f# with my pinky sounds very nice (you hear the guitar in the accomp. actually play the chords B7-13, B7aug, B7.) but I find F#m6 a nicer chord, so I play B7 in variation B of the Bossa Nova style and F#m6 when I improvise with variation C.
I also do that with the next two chords, F#m7 to D7 in variation B (d-f#-!a!-c using indexfinger playing the notes b to a# to a) and F#m7 to F#m7-5 in variation C.

Starkeeper, maybe I gave you more info now, but the remark I made where the chord suddenly was much higher sounding, had to do with what I made myself with the multipads. If I go from G (g-b-d) to G#, the sequences drop an entire octave. if I play Bb7 and go to Dm7, the sequences go UP.

Well, it is an arranger thing, and you can go around it by playing in other keys, or as I explained even other chords.

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drdalet

[This message has been edited by drdalet (edited 10-29-2004).]