At 10:06 AM 12/12/96 -0800, you wrote:
><<snip>>
>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).
>
Why wouldnt you want to play an E note against a Cm7?
I can tell you havent transcribed much (if at all).
(Someone asked me , I think Jim kroger, along while back how it
is that I claim I can tell if I'm listening on the radio if
someone hasnt transcribed. One of the ways is that
if I hear them play a Cm7 chord and never hear an E or B
or ... against it.)
If the next note after the E is an Eb or an F, depending on how
you use it, you will be in very famous company playing that.
For example, against Cm7, why not play:
F E Eb F D C (eighth notes)
or F E Eb G Bb D .
or how about the common lick:
F E Eb G D C
I could write ten pages of nice sounding lines using the notes
B, C#, E, F#, G# against a Cm7 chord.
I could also pull out dozens of solos of famous players doing the
same thing.
Sometimes you can see these things in transcription books but there
is nothing like spending several hours taking off those few notes
to make you really think about what is going on.
reed
Reed Kotler
http://www.reedkotler.com