If you are tonicizing the Bb by playing Cm7 F7 you are playing the ii and
the V7 chords of Bb. The Eb is in the key signature of Bb, and would be
neccesary in order to modulate or tonicize the Bb. The Cm7 chord is enough
that tells you the tune is moving to Bb whether it actually does or not.
>
>I would NEVER want to play an E over the Cm7 since The Eb gives the
>chord it's minor quality.
Thus making it a clear guide tone.
>This seems independant of whether or not you
>are progressing towards a Bb in the line.
>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).
Yes, see above.
>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
>
>
_______________________________________
Bert Ligon
Director of Jazz Studies
_______________________________________
School of Music
University of South Carolina
Columbia, SC 29208
Voice: (803) 777-6565
Fax: (803) 777-2151
bligon@mozart.sc.edu
_______________________________________