Well, Im well aware of relative minors, and I use them, except.. often, even if a key is in the major, I seem to be able to play the minor directly over it.

Take for example in jazz band, in a progression of F7, Bb7, F7, Bb7, F7, Gm7, C7, repeat (Yes, that song was annoyingly boring with all the straight 7th's..) but I found soloing directly over the Fm worked perfectly fine, and often sounded better than over Dm.

Same with in songs like For What It's worth by Buffalo Springfield. E Maj, A Maj (Both full chords not just 5th chords), once again, E minor does the trick for best sounding solo.

Can anyone tell me, theory wise, why this works so well? (could it be my tenancy to jump over most clashing notes?)
Maybe because it is F Dominant 7 so the flat 7 gives it a minor characteristic and the minor 3rd that you were soloing with would be a color tone
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I've noticed that too sometimes...like the minor pentatonic will sound really good over a major chord of the same root. I have also played a straight minor scale over a major chord of the same root...theory wise, you get the minor sixth and minor seventh over the major chord, which gives a sort of dominant phygrian sound. As for the minor third...I have no clue why it sounds good over a major chord of the same root, but it does for some reason. Maby because, in just intonation, a major third is actually in between what would be a minor and major third in western harmony.
The major scale (I am saying major because your playing a dominant progression) and the minor scale are 2 of the 7 modes that can be used while playing in whatever key. You'll find that you can play any of the modes (while playing them in the right places/notes and in the right key) over any progression.

So what your doing is playing the minor scale that correspondes correctly with they key your in. And some of the modes will give you different tones and sounds than others - in your case minor is apparently workin for you.
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Last edited by Carnivean at Jul 17, 2006,