I have no training in music theory what-so-ever. Nada...Zip...Cero. I do not read music appreciably. Once you get beyond the tonic (1), subdominant (4), dominant (5), and their relative minors, music theory to me is like a drunk man trying to learn to speak Russian while at the same time learning to write it with the Japanese alphabet. It's just too complex for my comprehension.

However, I write pieces with very complex chord patterns and variations. I love the sound of diminished 7ths, augmenteds and 9ths with a flatted fifth. Also, minor 7ths with a flatted 13th are very pleasing to my ear. But, I do not know the theory of why those things work the way they do. However, I innately know how and when to use them. In my mind, I have a syntax for the arrangements. I could never explain it anybody such that they would grasp it.

Kevin asked about the variances from verse to chorus. The suggestions from everyone sound fine to me. I think part of the "magic" to making a song appealing is the manner in which we transition fron one chord to another. As an example, in the key of "C", if my first chord of the chorus is Am, how do I get there? Do I simply go straight to it at the appropriate time? Do I use an e7th as a transitional chord? Do I use an Em? Do I use a G7th followed quickly by an A-FlatDim7th? Do I use a G with a B bass? Do I get there by way of a D-Dim7th followed quickly by an F-Dim7th? There are other avenues for that transition. I just mentioned a few that came quickly to mind. I think it is these tansitional chords that add so much to the character of a song and make for an interesting switch from verse to chorus, or the opposite. I guess you could say it's the nuances of the changes that color the music.

Just my thoughts. By the way Kevin, your playing is getting so much better. Your songs are always a pleasure to listen to.

Alan