dude.. I'm not arguing at all... lol... maybe you have the wrong 'voice' in your head when you read my post.. lol.. I'm simply pointing out an error... nothing more... Eb and D# are not the same note, they are the same pitch... I think that one of the reasons that many folks struggle with the academic elements of music is that things are often described poorly so they get off to a bad start.. that kind of ham-strings the poor guys right at the outset. And this is the reason why good usage of terms and "grammar" is important.. here's something to think on.. just because two notes have the same pitch, do the enharmonic note values share the same function with respect to interval, scale or chord..?? so... imagine the E triad... so with respect to E, G# is the major 3rd.. it can never be Ab despite it being the same pitch because Ab is a diminished 4th. And in the key of E, the note value of A is already taken by A natural [which is as I'm sure you're aware a perfect 4th]... If you see a score in Eb maj, where on the key signature would you see the note D#?? you simply wouldn't... you'd see Eb, F, G, Ab, Bb, C, D. So if you are describing a scale / chord / interval with respect to Eb as the tonic, and then start with D# as the tonic, maybe it wouldn't be so surprising if the folks trying to understand your description go "huuuh???".. also, when trying to describe an idea / concept, Eb is not really the kindest of keys... may I suggest choosing a key with fewer accidentals as they're easier for most people to visualize - like G / Em, or C / Am [especially for geetar players... lol..]..
Eb and D#.. are they enharmonically interchangeable? yes of course they are because they are the same pitch... are they the same note? no not at all and therefore they have a very different function...
please don't read this as a flame or anything stupid like a pissing contest.. that's not my intention... my intention is to clarify something you stated that is simply not true... nothing more..

the enigmatic scale - like the rest of the "exotics" try to avoid the fundamental pillars of western tonality - namely the perfect 4th / perfect 5th and / or the ability to be described as a variant of a major or minor scale. Although the enigmatic scale actually contains a major 3rd, the 4th and 5th intervals are augmented leading to a feeling of instability.. personally I'd not compose around this scale throughout an entire piece.. I tend to use "exotics" for fleeting moments to create specific impacts to the mood at specific moments... so to me, the notion of sticking to a specific single scale type is a limiting one.. and the most important thing in music is to never allow your creativity to be bounded and gagged by academic principles.. a deep understanding of these principles should be viewed as yet another "thing" for the composer to exploit..
German 6th chords... holy crap... lol.. I could create a major dissertation on this that'll bored this forum to tears... lol...
originally it was created to make the IV - V - I / II - V - I more 'colourful'.. so it evolved out chord IV in first inversion.. one of the best known of these more colourful variants is the Neapolitan 6th - a major triad in 1st inversion rooted on the flattened super-tonic... although it is a II chord, being in 1st inversion means the bass moves from the 4th to the 5th... the most famous example of this has to be Beethoven's Sonata Moonlight..
the German 6th is a modification of the Italian 6th and when looked at enharmonically has the same intervals as a plain-Jane dominant 7 chord.. the killer thing here though is the application - because this "enharmonic Dom7 is rooted on the minor sub-mediant and sounds most cool when followed by chord I 2nd inversion, then V7 and finally chord I in root inversion to establish the new key...
EDIT: thought a little more... lol....the function of these "aug 6th" family of chords [Italian 6th, French 6th, German 6th, Tristan Chord etc] is...
a secondary dominant....

hahaaaaa... dude you're right... it is F... just goes to show that I can't spell if my life depended on it.. lmao..

Eb = Eb, F, G, Ab, Bb, C, D

it is... it's a lot of fun if you're a bit of a chord perv...

Thanks for posting the new song Joe.

My honest opinion of "I just wanna Rock" after two listenings:

Ken : cool.

______________________

I have to say that i know almost nothing about solfege.

Some polemics are far beyong my head.

Wizard, Clarky

Wow. It took me quite a while to wade through the first little bit of theory you put out there for me. My perception was that the feel went from tight to looser to really loose with the blues. I liked the progressions, and it was very helpful when you spelled things out for me. I had one question though. Isn't the major scale within the Eb minor scale the Gb maj? How do you get a D maj scale from an Eb minor? Anyway, I stumbled through the first couple posts--then it got REALLY complex. Have you read that Far Side comic--"May I be excused? My brain is full." lol

I love it though. Theory is cool, I just haven't put in enough effort to learn the basics. I've always kind of played by ear.