Thank you for these thoughtful questions. Part 3 introduces the concept of melodic independence, and often the melodic emphasis is placed on moments of tension, where the non-chord tones are emphasized occasionally. Such is the case with the melodic B-flat over the D7(b9) in Ex. 2.

Regarding your question for Part 2, Ex. 3, keep in mind that chord tones of D7(b9) are D, F-sharp, A, C, and E-flat. So, when the melody over D7(b9) moves from B-flat, to, C, D, and E-flat, only that initial B-flat is a non-chord tone. C, D, and E-flat are all chord tones of D7(b9). C is the flat-seven, D is the root, and E-flat is the flat-nine. To answer your question about the E vs. E-flat: no note is ever forbidden in an improvisation. An E certainly could be integrated into an improvisation, even though it is a non-chord tone (E-flat is actually the chord tone over a D7(b9)). That being said, this particular melody is based entirely on the G natural minor scale (G,A,B-flat,C,D,E-flat,F,G) with the occasional added leading tone (F#) to the tonic (G). So, I had no use for E in these examples. While adding an E to a D7(b9), note that many melodies incorporate the note E over the initial Gmin7 in this chord progression.

Regarding your questions about Part 2, which delves in to harmonic dependence (where the melody emphasizes chord tones): The chord tones of an Am7(b5) are A,C,E-flat, and G. This chord is the ii half-dim chord. It is different than an Am7 chord, which would contain the E you mentioned. While some minor progressions do use a ii minor chord, most minor progressions (I’m referring to minor II-V-I progressions) use the ii half-dim chord.

In Ex. 5 (from Part 2), the C,D,C melody over D7(b9) is indeed 7,1,7, which are chord tones, but what is fascinating about the cluster of notes 7,1,flat-9 (over a D7(b9), these are the notes C,D,E-flat), is that these are chord tones, but they also sound like passing tones, in a way, given how they move in step-wise, rather than skipping as most chord tones do.

I hope that addresses your questions. Thanks again for diving so deeply into these melodies, and good luck!

Sincerely,
Javier

Thanks for these melody materials. They are great! Real eye-opener…

I still have a few questions though, if you don’t mind.
Am i correct that In Part 3, Ex. 2, the D7(b9) chord uses Bb in the melody line, which is considered b6?

And in Ex. 3, does the D7(b9) chord use notes b6, 7th, 1, and b9 in the melody? I guess what i’m asking is do you deliberately use only the Gmin scale notes and not the chord scale notes. Because, shouldn’t i use E (the 9th) instead of Eb (flat 9) in the D7(b9) line (which right now goes Bb,C,D,Eb) in Ex. 3.

Also wanted to inquire about Part2, Ex. 5., where only chord tones are used. The Am7(b5) (ii chord) uses scale notes 2,4, and 6, but usually the ii half-dim chord is changed to min chord to my mind, so shouln’t one be using E instead of Eb as a 6th note?

Last question. In Ex. 5, the D7(b9) chord uses melody notes C,D,C (4,1,4), or (7,1,7) in the key of D7). Does this mean we are not only using chord tones (2,4,6), but also passing tones in this case?

Hopefully i’m not splitting hairs here with all this detailed inquiry. Looking forward to hearing from you.

Kind regards,
Ahto

I’m glad you’ve been benefiting from these lessons. Thank you for taking the time to work through them! I do have plans to publish part 4 (and parts 5-25!), but I’ve been sidelined due to the interest among students in my school, New York Jazz Academy (http://nyjazzacademy.com). I’ve been busy teaching these concepts and many others on the internet, too, via NYJA Online (http://nyjazzacademy.com/online.php), but I hope to get back to the Anatomy of a Melody series soon.

Sincerely,
Javier

Thank you for your great teaching. Is there any way i could get to see the next one on ‘Sequences & thematic development? I can’t find it on you site.

regards

Peter

I have spent so long trying to find information such as this on melody writing. I have piles of books, have scoured the internet and have had Jazz piano lessons. Yet nothing has provided me with this kind of information. I could never quite get it right when writing melodies but i’m sure that will all change now that i’ve found your website Javier. I thank you from the bottom of my heart.

Kind regards

Peter

I agree about the big picture at the end of the paper–it really needs its own deeper analysis, as it’s a huge and revealing topic. The exercises available in PDF format, and I’ll email them to you. I’d certainly be happy to answer more questions you have and also schedule a lesson when you’d like.

Sincerely, Javier