I would NEVER want to play an E over the Cm7 since The Eb gives the
chord it's minor quality. This seems independant of whether or not you
are progressing towards a Bb in the line. I tend to think in terms of
the appropriate chord tones for a given change embellished by chromatic
and scalar notes. I guess in a strange sense this is a guide tone mind
set where the guide tone is ANY of the relevant chord tones (or
extensions).
Perhaps you ment that someone may simply noodle around in the key of F
over the whole progession and thereby play the E instead of the Eb.
This is a foriegn concept to me since I have always focussed on the
chords instead of the key. Any insight is greatly appreciated. I am
learning ALOT from this highly knowledable group and greatly appreciate
this forum.
Mike Temple
You wrote:
>
>Take any tune (like Misty or Cherokee) that progresses to the IV
chord. In
>F the progression might be:
>
>F ///| ////| Cm7 ///| F7///| Bb ...
>
>What is the difference between the two keys? The pitch Eb. All the
rest of
>the notes are the same, so for a melody to actually makes the change,
you
>would have to include the Eb, probably in a significant spot in your
line.
>What is the guide tone note for the Cm7 chord? The pitch Eb. Same
results
>from two points of reference.
>
>We can all hear the difference in a beginning player who would
continue to
>play E naturals through the Cm7 F7 measures. I may suggest the theory
of
>guide-tones or target notes to get them to hear the difference that
one
>note can make, or I may suggest the concept of modulating briefly to
the
>key of IV, which requires the Eb.
>
>
>
>_______________________________________
>Bert Ligon
>Director of Jazz Studies
>_______________________________________
>School of Music
>University of South Carolina
>Columbia, SC 29208
>Voice: (803) 777-6565
>Fax: (803) 777-6508
>bligon@mozart.sc.edu
>_______________________________________
>
>
>
>