01-Melodic Cells

Part 6: Melodic Cells back to contents
Melodic Cells
• Melodic Cells Defined

• Cells on Setup Chords or Target Chords
• Integrating Cells into Your Improv
• MELODIC CELL TYPES

• Linear Scales and Arpeggios as Cells
• Melodic Rhythm Cells
• Chromaticized Arpeggio Cells
• Harmonic Type Melodic Cells
• Decoration Cells
• Theme and Variation Cells
• Styles as Cells
• Blues Melodic Cell Examples
©1998-2024 Jim Gleason. All Rights Reserved.

page 2 Melodic Cells Melodic Cell Types Part 6: Melodic Cells back to contents
MELODIC CELLS DEFINED

Cells are the smallest units of melodic design. They are made with structures like scales, arpeggios,
intervals and chromatics. Cells usually are used with various expressive design elements involving
technique, phrasing, rhythm, dynamics, etc. Melody is the designed repetition of cells.
Cells of Creative Origin

Cells may be created organically with the right brain, by recalling and modifying known melodic ideas.
In improvisational music, these cells are called licks. In classical music, cells are created compositionally
and are called motifs.
Cells of Logical / Mathematical Origin

A composer may imagine an idea, then process it logically to conceive variations. An improviser can
expand their capabilities by studying variations on a cell and integrating those variations into their
improvisational style.
Cells may be varied as to their chord type, scale type, rhythmic word, rhythmic displacement. They
usually may be played in reverse order.

back to contents Part 6: Melodic Cells Melodic Cell Types Melodic Cells page 3
CELLS ON SETUP CHORDS OR TARGET CHORDS

Target Chords
A tonic chord is the chord after which a key is named and is the chord you would expect the song to
end on. Many chords in a progression can be treated as temporary tonic chords to enjoy the melodic
and harmonic designs that support them. It is common that I, II, IV, V and VI chords are treated in
as temporary tone centers.
The actual tonic chord and any temporary tonic chords can be treated as target chords, as if they were
tonic chords. This is done by anticipating them with scales or chords.
Preview the Target Chord

Probably the simplest way to anticipate a target chord is to play its arpeggio or a scale containing its
arpeggio before the target chord, during another chord. This should be usually be done for about one
second, at most (see The One Second Rule, below).
Cadences
anticipate with cadences
Chords can anticipate a target chord by use of well-known short chord progressions called cadences
that, in the repertoire in which we have known them, have established the key. Over and over, in most
styles of music, we have heard a chord built on the fifth step of the tonic scale (scale named after the key)
anticipating the tonic chord, such as G7 (V7) to C (I) in the key of C. In classical and jazz, then pop
music, we have heard chords in sequences of fourths (7, 3, 6, 2, 5, 1, 4) that lead to the I chord, especially
IIm, V, I (Dm, G, C in the key of C) or IIm7b5, V, Im (Dm7b5, G, Cm in the key of C minor).
A common jazz variation that became popular with bop music is the flat five substitute, where an altered
V chord (such as G7b5b9) is substituted with a synonym chord (Db7b5#11) whose root is a flatted
fifth up or down. Since a flatted fifth interval is a half an octave, it produces the same note up or down.
represent cadences with arpeggio

Cadences can be represented with arpeggios and those arpeggios can be decorated with scales.

The One to Two Seconds Rule

It is common that melodies emulate a chord immediately before a target chord that have little or nothing
to do with the chord in the accompaniment at the time.
For example, you may be playing in bar two of a jazz blues in C where the current chord is F7, but you
are playing G7b9 at the end of the bar to anticipate the C7 chord that begins bar three with a cadence.
The notes of the G7b9 are largely different from those of the F7 in the accompaniment and would
sound pretty bad if you did not hear them resolve to the C7 chord. If the listener only hears this dis-
crepancy for about one to two seconds (two to four beats at 120 beats per minute), they won’t have time
to contemplate the discrepency and will hear the resolution to C7 soon enough. If, on the other hand,
you played the G7b9 sound for over two seconds, the listener may have time to recognize that it does
not harmonize with the F7 chord actually being played in the accompaniment.
This phenomenon is not restricted to jazz. It occurs in every popular style of improvisational music
(rock, blues, jazz, folk, reggae, funk, punk,etc.).

INTEGRATING CELLS INTO YOUR IMPROV

Get four-note cells into your memory, in a melodic context. Not only memorize the cell, but create
ideas that use them and incorporate those ideas into your improv. Sing your lines as you play them.
Practice Each Separate Cell

If possible, practice a series of related cells (each changing only a note or two, or the same structure
played on a different chord tone or different fingerings). Learn to phrase each cell against the chords,
starting in the appropriate part of the bar.
Free Improv at the Same Rhythmic Level as the Cell

Establish familiar, easy improv with continuous rhythm (i.e. continuous eighth notes) without these
new cells at the same rhythmic level as the cell.
Whimsically Combine Cells and Free Improv

Combine the cells with free improv by improvising right up to the cell, playing the cell on the intended
part of the bar, and coming out of the cell back into continuous free improv. Progress from playing on
a simple chord progression or even a single chord to more complex progression.
whimsical games
Globalize any element (see Globalizing). Practice a set of instances of an element (like a melodic cell).
Improvise on something conducive to using an instance of the element and whimsically incorporate one
instance on call, then two, then more. For example, play up and down the tones of a ninth arpeggio. As
you approach any one of the numbered tones (1-3-5-b7-9), think that number and play the melodic cell
that decorates it, such as two chromatic tones below it. Practice this until it is easy for you to think and
apply the melody cell to any chord tone.
Personalize Your Cells

Evolve the use cell with your personalized treatment such as slurring, decorating, phrasing and incorporate
it into your improvisational style so you’ll review it when you improvise. In improvising, you recall previ-
ously learned ideas and modify them to fit what you are playing on. We are working at adding cells to your
mental library, and will work on the modifications necessary to adapt a cell to what you are playing on.
Personalize each cell by deciding on variations of it with changes of slurs, dynamics, rhythm, scale and
chord quality to be applied to genres and songs in your repertoire.

MELODIC CELL TYPES

LINEAR SCALES AND ARPEGGIOS AS CELLS
• Key Scale or Chord Scale
• Arpeggios of The Current Chord
• Arpeggio Phrases withy Non-Chordal Tones
• See the chapter “Chromaticized Pentatonic Scales”
• See the chapter “Relating Chord Tones to the Beat”
• See the chapter “Fragment Patterns”
• See the chapter “Triads with Neighbor”
• Two and Three String Cluster Playing
• Flipping Tertian Cadences
• Pivot Tone
• Scalar Encircling
MELODIC RHYTHM CELLS

• See the chapter “Relating Chord Tones to the Beat”
• See the chapter “Rhythmic Themes and Layers”/Rhythmic Theme and Variation
• See the chapter “Rhythmic Words and Comping”/Melodic Rhythms
• See the chapter “Fragment Patterns”/Beat Obscuring
CHROMATICIZED ARPEGGIO CELLS

Generally, chromaticizing arpeggios involves one or more of these three actions: fill in between chord
tones with half steps, fill in chromatically between a neighboring scale tone and a chord tone or precede
a chord tone from a lower chromatic tone a half step below.
It is preferable to get chord tones on the beat or to push the beat by playing a chord tone before a beat
then sustaining onto the beat or putting a rest on the beat
• See the chapter “Chromaticized Arpeggios” and these sections of it:
Three-Note Chromaticized Arpeggio Fundamentals
Four-Note Chromaticized Arpeggio Fundamentals
Building Four-Note Chromaticized Arpeggio Cells
Linear Chromatic Sequences
“Every-Other” Chromatic Sequences
Skip Chromatic Sequences
Encircling Chromatic Sequences
Looped Chromatics

Chromaticizing Full-Tertian
Chromatic Drift
Free Form Chromatics
• See the chapter “Chromaticized Scales on Arpeggios” and these sections of it
HARMONIC TYPE MELODIC CELLS

• Harmonic Cadences
• Superimposed Chord Progression
* Secondary Roots
* Flat Five (Tritone) Substitute
* Chromatic Passing Chords
* Changed Chord Quality
• Harmonized Scales
• Chromatic Drift
• See the chapter “Triads with Neighbor”
• Thirds, Sixths and Octaves with Inner Thirds
• See the chapter “Quartal and Quintal Harmony”
• See the chapter “Half-Whole-Half Cells and Diminished Scale”
DECORATION CELLS
• Bebop And Baroque Ornamentation
• Adjacent String Legato Slurring
• Cadence Ornament Rhythms
• Indian Classical Ornamentation
THEME AND VARIATION CELLS

• Rhythmic Theme and Variation
• Core Melody And Elaboration
• Melodic Curve Theme and Variation
• Call and Response
STYLES AS CELLS
• Blues Licks
• Swing Blues Licks
• Rock-a Berry Licks
• Double Stops and Jazz Blues Double Stops
• Pedal Steel Bends
• Charlie Parker Design

LINEAR SCALES AND ARPEGGIOS AS CELLS

Key Scale or Chord Scale
with emphasis of current chord tones (duality tones)
The most basic melodic cell is a linear ascent or descent on a scale. Joy To The World descends a major
scale one octave from the tone center. The guitar theme in My Girl ascends a major pentatonic for one
octave. The first theme in George Benson’s version of Breezin’ starts by ascending a major scale from
five to five.
Syncopated rhythm is very useful in bringing a scalar passage to life.
Arpeggios of the Current Chord

Melodies sometimes arpeggiate chords. Bach’s Well-Tempered Clavier, Prelude 1 in C is all arpeggios.
The instrumental opening and recurring theme in Mr. Sandman is quadrad (four-note) arpeggios.
In The Mood is triad arpeggios. The first guitar solo to Comfortably Numb has passages of major
arpeggios. The Sultans of Swing solos have frequent triad arpeggios. The two-guitar ending in Hotel
California has two guitars, each playing arpeggios in harmony with one another.
Bach’s Well-Tempered Clavier, Prelude 1 in C
Mr. Sandman
Comfortably Numb
Like with scalar passages, arpeggio passages are much more interesting with syncopated rhythm.
Afternoon In Paris - linear arpeggios
Arpeggio Phrases with Non-Chordal Tones

Two and Three String Cluster Playing

two strings tuned in fourths
three strings tuned in fourths for fragment patterns
three strings tuned in fourths for theme and variation
numbered fingering for two or three strings in fourths

My major scale in-position numbering system uses the major scale-tone number of the lowest-pitched
note on the sixth string to number the fingering. If you were to fret a G major scale in the second
position, the lowest reachable tone is “F#”, scale tone seven. So that would be fingering 7. Here are the
seven fingerings in that system:
seven in-position fingerings, numbered by scale tones

Major scale fingerings are numbered in this course according to the number of lowest note fingered
with the index finger on the sixth string. The seven in-position fingerings are shown below. Scale tones
are numbered. The scale-tone numbers shown in parenthesis are options, where the same note can be
fingered on the an alternate string.
fingering 1 fingering 2 fingering 3 fingering 4 fingering 5 fingering 6 fingering 7
3 index reaches 2 pinky reaches
(7) (3) no reaches 2 index reaches 4 index reaches 1 pinky reach no reaches
14 (5) 1 251462 3 62 5 73 4 (1) 4 514 (2) 5 (7) 7362 7
73 4 14 736 7 6 25 1 36 14 51
251462 362573 736 514 25 625136 4 73
4 14 514 25 7 4 736 2 7 25146 2
362573 7 3 (6) 625136 7362 7 14 51
7
in-position major scale fingerings by finger number

“1” is the index finger, “2” is the middle finger, “3” is the ring finger and “4” is the little finger.
fingering 1 fingering 2 fingering 3 fingering 4 fingering 5 fingering 6 fingering 7
3 index reaches 2 pinky reaches no reaches 2 index reaches 4 index reaches 1 pinky reach no reaches
11 11 (1)(1) 1 11 1 11 1 (1) 1 1 1 1 (1) 1 11 1 111 11 11 1

11 111111 2 22 111 1 2 22 22
222222 333 222 22 222222 3333 3 33
333333 444 44 3 3 44 44 444444
444344 4 44 444444 44 44 4 4
44 4

Flipping Tertian Cadences

(using other full tertian containing non-chordal tones to full tertian containing the current chord)
Flipping tertian melodic cells are an important part of the improvising puzzle. They are very effective
in connecting other melodic cells across chord progression.
Imagine you are on the root of a chord and you want to improvise around the seventh and ninth adjacent
to the root, as part of a ninth arpeggio. In relation to the seventh and ninth, the root is an “8” (octave).
You’ll need to move up or down a scale tone to get on the tertian cycle. So, this is a matter of moving
from an even-numbered tone (2, 4, 6, 8, 10 or 12) to an odd-numbered tone (1, 3, 5, 7, 9, 11 or 13).
Large tertian chords are built with odd-numbered tones: 1, 3, 5, 7, 9, 11 or 13. If you are currently on an
even-numbered tone (2, 4, 6, 8, 10 or 12), you can use one of the four-note cell types below to transistion.
In addition to using these as a solution to an inadvertent problem, you can also “create a drama” by
intentionally using an even-numbered chord tone like a sixth on the beat, then resolve it with a flipping
tertian melodic cell.
Learn to play these melodic cells in each of the six major scale fingerings shown in Prime Scales, Chords
and Arpeeggios/Major Scale Fingerings/versions suited to play scales.
four-note versus three-note cells

We are studying four-note flipping tertian cells in this section. Three-note flipping tertian cells don’t
require much study since they easily move to the tone up or down a scale tone. “123” leads to “2”
stepwise. “321” leads to “7” stepwise.

ree-Note Flipping Tertian Melodic Cells
1-2-3 resolves to 2
° 12 œ œ œ œ ™ Ó™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
œ œ œ
1-2-3-2 transistions up a scale tone, as "C" to "B" below
œ œ œ 12
&8 8
7 7 8 7 8 10 8
8 8 10 8 10 10
¢⁄
7 9 7 7 9 7 9 10 9 10 10
10 10
3-2-1 resolves to 7
° 12 œ œ œ œ™ Ó™ œ œ œ œ œ œ œ œ œ œ œ
3-2-1-7 transistions down a scale tone, as "C" to "B" below
œ œ œ œ œ œ œ œ œ œ œ™
&8
8 7 7 8 7 7
10 10 10 8 10 8 8
¢⁄
10 10 9 10 9 7 9 7 7
10 10 9 10
mordent as a flipping tertian
Any of the four notes in these flipping tertian melodic can be an upper or lower mordent for bebop
ornamentation. Mordents on chromatic tones (#1-#2-#5-#6) should employ lower chromatic
embellishments. The Autumn Leaves flipping tertian examples use mordents in sixteenth triplets.
1-3-2-1 and 1-6-7-1

1-3-2-1 and 1-6-7-1 begin with a third, then return stepwise to the original note. They can end up or
down by a scale-tone interval up to a minor third.
©2015 Jim Gleason. All Rights Reserved.

page 12 Melodic Cells Flipping Tertian
Melodic Cell Types Fragment Patterns
1-3-2-1
œœœœ œœœœœœœœ œœœœœœœœ œœœœ œœ
° 4œ
1-3-2-1-7 transistions down a scale tone, as "C" to "B" below
Œ œ œ œœœœœ Œ
&4
8 12 10 8 7 8 12 10 8 7 10 8 7 8 7 7
10 10 8 10 8 10 8 8
¢⁄
10 10 9 10 9 7 10 9 7
10
° 1-3-2-1-2 transistions Œup a scale tone, as "C" to "B" below

& œœœœœ œ œ œ œ œ œ œ œ œœœœœœœ œœœœœ Œ
œ œœœœ œ œ œ œ
¢⁄
7
7 9 7 7 10 9 7 9 10 9 10
7 7 8 7 7 10 8 7 8 10 8 10 10
8 10 8 10 8 10 8 10 10
1-6-7-1
° œœœœœ Œ œœœœœœœœ œœœœœ œœ œ

œ œœœœœœœ œœœœœ Œ
&
8 7 8 7 8 7 8 7 7
10 10 8 10 10 8 10 8 8
¢⁄
10 9 10 10 7 9 10 9 7 9 7 7
10 9 10 10
°
1-6-7-1-2 transistions up a scale tone, as "C" to "D" below
& œ Œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœ Œ

œœœ œ œ
œœœœ œœ œ œ œ œ
¢⁄
4 4 5
5 5 7 5 7 5 7
5 5 5 7 5 7 8 5 7 8 7 8 8
8 5 7 8 8 5 7 8 7 8 8
1231
° œœœœœ Œ œœœœœœœœ œœœœœœœœ œœœœ œœ

& œ œ œœœœœ Œ
¢⁄
7 9 7 9 7
10 10 9 10 10 9 10 9 7 9 10 7 7 9 7
10 10 8 10 8 7 8 10 7 7 8
10 10 8
°
& œœœœœ Œ œ œ œ œ œ œ œ œ œ œœ œœœœœ Œ

œ
œœœœœœ œ œ œ œ œ œ
¢⁄
7
7 7 9 7 9 10 7 9 10 9 10
7 7 7 8 7 8 10 7 8 10 8 10 10
8 10 8 10 8 10 8 10 10
¢
°
Œ Melodic Cells
back&to contents Part 6:
œ œ œ œ œ œ œ œ œ œ œ œ œMelodic œ œ œ page
œ œ Cells Œ 13
œ œ œ œ œ
Melodic Cell Types
œœœœ œœœœ œœ œ
1231 and 1761
¢⁄ 1761
4 4 5
1231, begin5 with three scalar5 tones,5 then
7 skip
5 7by8 a5third
7 8 to the
5
7 original
8
5 7
8 note. They can end up or
5 7 5 7
8 5 7 8 8 5 7 8 7 8 8
down by a scale-tone interval up to a minor third.
1231
° œœœœœ Œ œœœœœœœœ œœœœœœœœ œœœœ œœ

& œ œ œœœœœ Œ
¢⁄
7 9 7 9 7
10 10 9 10 10 9 10 9 7 9 10 7 7 9 7
10 10 8 10 8 7 8 10 7 7 8
10 10 8
°
& œœœœœ Œ œ œ œ œ œ œ œ œ œ œœ œœœœœ Œ

œ
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Flipping Tertian Fragment7 Patterns]7 9 7 9 10 7 9 10 9 10
7 7 7 8 7 8 10 7 8 10 8 10 10
8 10 8 10 8 10 8 10 10
1-7-6-1
° œ œœœ Œ
1-7-6-1-7 transistions down a scale tone, as "C" to "D" below
& œ œœœœœœœœ œœœœœ œœ œ Œ

œ œœœœœœœ œœœœœ
¢⁄
10 7 9 10 9 10 7 9 10 9 7 9 7 7
10 8 10 10 7 8 10 8 7 8 7 7
10 8 10 10 7 8 10 8
° œ œœœ Œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœ

œ
œœœœ œœ œ œ œ œ Œ
& œ
7 7 8
8 8 10 8 10 8 10
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7 7 7 9 7 9 10 7 9 10 9 10 10
10 7 9 10 10 7 9 10 9 10 10
1-2-1-6-7, 1-2-1-3-2, 1-7-1-6-7, 1-7-1-3-2

œ œœœœœœœœ œœœœœœœ œœœ
° œ œœœ Œ œœœœœ œœœœœ Œ
œ
&
8 10 8 7 8 10 8 7 8 7 7
10 10 8 10 10 8 10 8 8
¢⁄
10 9 10 10 7 9 10 9 7 9 7
10 9 10
° 1-2-1-3-2 transistions Œup a scale tone, as "C"©1998-2024

to "D" below
œœœœœ œœœœœ Œ
Jim Gleason. All Rights Reserved.
& œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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10 8 10 10 7 8 10 8
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page& œ œ œCellsŒ œ œ œMelodic

14 œMelodic œ œ œCellœ Types
œ œœ œ Œ
12167, 12132 , 17167, 17132

7 7 8
8 8 10 8 10 8 10
¢⁄
These begin like a mordent
10 7 9 10
7 (a neighbor
10 7 9 10
7
9 10
and a returning
7 9
10
7 9 10 note), then a third up or down, then a returning
7 9 10 9 10 10
note.
1-2-1-6-7, 1-2-1-3-2, 1-7-1-6-7, 1-7-1-3-2
œ œœœœœœœœ œœœœœœœ œœœ
° œ œœœ Œ œœœœœ œœœœœ Œ
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&
8 10 8 7 8 10 8 7 8 7 7
10 10 8 10 10 8 10 8 8
¢⁄
10 9 10 10 7 9 10 9 7 9 7
10 9 10
° 1-2-1-3-2 transistions Œup a scale tone, as "C" to "D" below

& œœœœœ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ Œ
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7 7 9 7 9 7 10 9 10 9 10
7 7 7 8 7 8 7 10 8 10 8 10 10
8 10 8 10 8 10 8 10 10
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8 7 8 7 8 7 8 7 7
10 10 10 8 10 8 10 8 8
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10 10 9 10 9 10 7 9 7 9 7 7
10 10 9 10
° 1-7-1-3-2 transistions Œup a scale tone, as "C" to "D" below

& œ œœœ œ œ œ œ œ œ œ œ œœœœœ œœœœœ Œ
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¢⁄
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7 9 7 7 10 9 7 9 10
7 7 8 7 7 10 8 7 8 10 8 10 10
8 7 8 10 8 7 8 10 8 10 10

Autumn Leaves
back to contents Part 6: Melodic Cells beginning improv Melodic Cells
Melodic Cell Types page 15
Autumn Leaves beginning improv
Swing Eighths
C Dorian G minor blues
œ œ œ b œ nœ
C‹7 F7
œ #œ n œ
(G7b9nr=Bº7)
° bb 4 Ó
B¨Œ„Š7 E¨Œ„Š7
& 4 ™™ œ œ ∑ ∑ ∑
7 10
™ 8 10
™
9 11 8
¢⁄
10 8
10
D Phrygian major (D7 with b2, b6) G minor blues
œ œ
° bb œ œ #œ œ
(D7b9nr=F#º7) G‹7
™™
6 A‹7(b5) D7
& Œ ∑ ∑ ∑
8 11
™
™
10
¢⁄
8 11
10

page 16 Melodic Cells
Flipping Melodic
Tertian Cell Types Part 6: Melodic Cells
Study On Autumn Leaves back to contents
Autumn Leaves flipping tertian improv
Swing Eighths 1-3-2-1, resolve down

over Cm7 F7, a IIm V progression, play it all as IIm
n œ œ
(G7b9nr=Bº7)
œ
C‹7
œ œ œbœ n œ œ œ
C‹7
œ œ œ œ œbœ
mordent
° bb 4 œ #œ nœ œ
œ Ó œ #œ nœ œ
œ
& 4Ó
tones in C 3
1 3 2 1 (b)7
7 10 8 11 10 8 7 10 8 11 10 11 10 8
9 11 8 9 11 8
¢⁄
10 8 10 8
10 10
play Gm7, which is VIm7 over Bb(I)ma7, Ebma7 and Gm7. VIm7 is part of Ima7 and IVma7 type chords.
° bb Ó #œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œnœ œ
œ œ #œ
(D7b9nr=F#º7)G‹7 G‹7 mordent
œ
5
& œ œœ Ó œœ
3
tones in G
1 3 2 1 (b)7
10 8 11 10 8 10 8 11 10 8 10 8
¢⁄
8 11 10 7 8 11 10 7
10 8 10 8
10 10
play D7, which is V7 of Gm7 over Am7b5 D7 (IIm7b5 V7 of Gm).
° bb
9 œ œ nœ D7#œ bœ
(A7b9nr=C#º7)
œ œ nœ D7#œ œ œbœ
& Ó #œ œ œ nœ œ œ Ó #œ œ œ nœ œ œ
#œ #œ
3
tones in D
1 3 2 1 (b)7
11 8 7 11 8 7 8 7
¢⁄
9 7 8 7 9 7 8 7
11 10 7 7 11 10 7 7
9 9
nœ œ œ œœœ G‹7
bœb œ œ œ œ œ œ nœ œ bœb œ œ œ œ nœ œ n œ œ œ œ
(Ebm9<ma7> ) (Ab13#11) G‹7 (Ebm9<ma7> ) (Ab13#11)
° bb
13
& œ nœ Ó œ nœ 44
3
tones in Ab tones in Ab tones in G
1 3 2 1 down 1 3 2 1 1 3 2 1 (b)7
13 10 13 10
11 13 11 13 11 11 13 11 8 11 10 8
¢⁄
11 13 13 12 11 13 13 10 7
12 8
13 10 10
2 1
ese all use the 1-3-2-1 sequence, starting on 1 to "flip" from the even -numbered octave root (8) to "7",
which is in the 1-3-5-7-9-11 tertian series or to another chord with a tone adjacent to "1".
We will explore "flipping" in this manner from "6", from "8" ("1" up and octave), and from 10 ("3" up an octave).

back to contents Part 6: Melodic Cells Flipping
Melodic CellOn
Tertian Types
Autumn Leaves Melodic Cells page 17
2
1-3-2-1, resolve up
Swing Eighths
over Cm7 F7, a IIm V progression, play it all as IIm
œ b œ œ œ œ œb œ œ œ œ œ œbœ
C‹7 C‹7
n œ b œ n œ
(G7b9nr=Bº7) mordent
° bb 4 Œ ‰ nœ œ œ#œ nœbœ Œ ‰ nœ œ œ#œ nœbœ

17
& 4 J J
tones in C 3
1 3 2 1 2
7 8 11 10 8 7 8 11 10 11 10 8
8 9 11 11 8 8 9 11 11 8
¢⁄
9 10 8 9 10 8
play Gm7, which is VIm7 over Bb(I)ma7, Ebma7 and Gm7. VIm7 is part of Ima7 and IVma7 type chords.
° b œ#œ œ œ
G‹7
œ œ œ œ nœ œ
(D7b9nr=F#º7)
œ#œ œ œ
G‹7
œ œ œ œ œ œ nœ œ
mordent
œ œ
21
œ œ
&b Œ ‰ J œ Œ ‰ J œ
3
tones in G
1 3 2 1 2
10 8 11 10 8 10 10 8 11 10 8 10 8 10
¢⁄
7 8 10 11 10 7 7 8 10 11 10 7
8 8
play D7, which is V7 of Gm7 over Am7b5 D7 (IIm7b5 V7 of Gm).
° b b œ œ œ nœ D7œ#œbœ œbœ b œ œ nœ nœ D7œ#œ œ œbœ œbœ

25 (A7b9nr=C#º7)
&b Œ ‰ J #œ nœ nœ#œ Œ ‰ J #œ nœ nœ#œ

3
tones in D
1 3 2 1 b2 b2
9 8 7 9 8 7 8 7
¢⁄
10 9 7 8 7 8 10 9 7 8 7 8
11 10 7 11 10 7
9 9
nœ œ œ œœœ G‹7
bœb œ œ œ œ œ œ n œ œ œ bœb œ œ œ œ n œ œ œ œ nœ œ
(Ebm9<ma7> ) (Ab13#11) G‹9 (Ebm9<ma7> ) (Ab13#11)
° bb
29
& œÓ œ nœ 44
3
tones in Ab tones in Ab tones in G
1 3 2 1 up 1 3 2 1 1 3 2 1 (b)7
13 10 13 10
11 13 11 13 11 11 13 11 10 13 11 10
¢⁄
11 13 13 12 11 13 13 12
12 12
13 10 13 10
ese all use the 1-3-2-1 sequence, starting on 1 to "flip" from the even -numbered octave root (8) to "7",
which is in the 1-3-5-7-9-11 tertian series or to another chord with a tone adjacent to "1".
We will explore "flipping" in this manner from "6", from "8" ("1" up and octave), and from 10 ("3" up an octave).

Pivot Tone
with scalar, arpeggio or chromatic movement, changing notes on or off the beat
Every other note is one particular tone, called the pivot tone. The alternate set of notes in the every-
other is a scalar or chromatic ascent or descent to another chord. These can bridge an octave or more.
They can incorporate all the previous melodic cells. Chromatic cells must be played quickly to work
when alternated with a pivot tone.
Ascend or descend with changing notes on the beat or changing notes off the beat. If scalar, skip to
chord tone on “1” as necessary.
Moto Perpetuo on the B & E Strings - click to play video

Moto Perpetuo On The "B" and "E" Strings
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ3œ œ œ œ œ œ œ œ4œ œ œ œ œ œ œ œ
q = 184
#### 4 ∑
1 2
& 4
4 3 1 4 3 1 1 4 3 1 1 4 3 1 1 0 1 0 3 0 1 0 2 0 1 0 3 0 1 0 3 0
12 11 9 12 11 9 7 11 9 7 5 9 7 5 4 0 2 0 0 4 0 0 5 0 0 7 0 0
⁄
4 5 7 9
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⁄
4 5 7 4
#### œ 10 œ œ 11 œ œ œ 12 œ
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1 0 1 0 1 0 2 0 1 0 2 0 1 0 1 0 4 0 1 0 1 0 1 0 4 0 1 0 2 0 1 0
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4 0 0 5 0 0 7 0 0 9 0 0 12 0 9 0 0 9 0 10 0 7 0 0 7 0
4 6 8 9 9 8
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⁄ to contents Part 6: Melodic Cells

5 0 0 5 0 0 4 0 0 4 0 0 2 0 0 2 0 0 4 0 0 4 0 0
1 1 2 2 3 3 4 4
back Melodic Cell Types Melodic Cells page 19
# ## œ œ œ œ œ œ 24 œ œ œ œ œ œ 25 œ œ œ œ œ œ 26 œ œ œ œ œ œ 27
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11 12
On9The "B"9 and11"E" 7Strings
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page Melodic Cells Melodic Cell Types Part 6: Melodic Cells back to contents
# ## œ œ œ œ œ œ 3œ œ œ œ œ œ œ œ 4œ œ œ œ œ œ œ œ
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Scalar Encircling

CHROMATICIZED ARPEGGIO CELLS

Generally, chromaticizing arpeggios involves one or more of these three actions:
• fill in between chord tones with half steps

• fill in chromatically between a neighboring scale tone and a chord tone
• precede a chord tone from a lower chromatic tone a half step below.
It is preferable to get chord tones on the beat or to push the beat by playing a chord tone before a beat
then sustaining onto the beat or putting a rest on the beat
See the chapters “Chromaticized Arpeggios” and “Chromaticized Scales on Arpeggios”.

HARMONIC TYPE MELODIC CELLS

Harmonic Cadences
See the chapters “Voice Leading” and “Modal II-V-I Cadences and Turnarounds”.
Superimposed Chord Progression

See the chapters “Substitution”, “Melodically Superimposed Cadences” and “Voice Leading”/Most
Usable Voice Leading/Four Beat Cadences.
secondary roots
See the chapter “Substitution”/Secondary Roots. Melodic cells can be used on the third and sixth with
various melodic cells.
the tertian cycle

Tertian implies made of thirds. The interval of a third is counted inclusively, so the interval from scale
tone one to scale tone three or from scale tone two to scale tone four are called thirds. Chords are typically
constructed in thirds, using the tertian cycle 1-3-5-7-2-4-6-1-3, etc. The tertian cycle harmony Three-
note chords built in thirds are called tertian triads. Any four-note tertian chord contains two subset
triads. Any five-note tertian chord contains two tertian quadrad subsets and three tertian triad subsets.
triad subsets of each original chord

For each original chord, consider all of its potential versions of ninth and sixth chords. In the major
scale, usable ninth chords occur on all scale tones except not seven and three. Sixth chords occur on
steps I, IV, V and II. IIm6 is not very usable in cadences like II V I, but more as a tonic chord in a minor
key.
Most of the original chords in a progression have potential substitutes based on secondary roots.
Secondary roots are on the root, third, fifth or sixth (if the chord has a sixth) of each original chord.
Secondary roots on the sixth are primarily used with major chords (C6 used for Cma7 or for C7, not
so much for Cm7).
These substitute progressions work best with major scale-tone chords, where there are many options.
See the chapters “Chord-Naming Conventions”, “Major Scale-Tone Triads”, “Scale-Tone Seventh
Progression”, “Recognizing Scale-Tone Chords” and “All Scale-Tone Chords”.

use in comping or single-note soloing

First, play substitute progressions in chords. Once you can play these in chordal form, use the same
thought to get chord names for neighboring chords that you express with melodic cells and phrases.
Think the substitute chords, express them in single notes, all the while listening to its effect against the
original chords. So, it helps to play with another musician, a recording or software playing the chords.
Triad cells may be used as secondary roots on the third, fifth, sixth and sometimes the seventh. They
are based on thirds, subsets and synonyms. See the chapter “Substitution”/Shared Thirds: Secondary
Roots.
secondary root on the third

A secondary root on the third of a chord can be used when a four-note chord is built in thirds (tertian
quadrad), such as Ima7 (1-3-5-7), IIm7 (2-4-6-1), or IIIm7 (3-5-7-2). In each case, the chord without
a root becomes a triad its third. Cma7 (1-3-5-7) without a root is 3-5-7, which is a III minor triad.
Dm7 (2-4-6-1) without a root is 4-6-1, which is a IV major chord.
The same logic works with five-note chords built in thirds (tertian pentads), such as Ima9 (1-3-5-7-2),
IIm9 (2-4-6-1-3), or IVma9 (4-6-1-3-5). Each chord without a root becomes a seventh chord (tertian
quadrad). Cma9 (1-3-5-7-2) without a root is 3-5-7-2, which is a IIIm7 chord. Dm7 (2-4-6-1-3)
without a root is 4-6-1-3, which is a IVma7 chord.
Chords built on III and VII of the major scale imply ninth chord types that are not currently accepted:
Im7b9 and VIIm7b5b9.
Secondary roots on the third of chords in the key of C:
seventh name in C parent tones seven no root tones synonym

Cma7 1-3-5-7 3-5-7 Em
Dm7 2-4-6-1 4-6-1 F
Fma7 4-6-1-3 6-1-3 Am
G7 5-7-2-4 7-2-4 B dim.
secondary root on the sixth

To use a secondary root on the sixth of a chord, it must be chord whose chord scale includes a sixth. In
the major scale, this is chords built on I, II, IV or V.
A secondary root on the sixth of a chord can be used when a four-note chord is a triad built in thirds
(tertian), with an added sixth, such as I6 (1356 or 6135), IIm6 (2467 or 7246), or IIIm7 (3572). In each
case, the sxith chord is a synonym of a seventh chord (tertian quadrad) built on its sixth.

Secondary roots on the sixth of chords in the key of C:
sixth & synonym sixth name in C parent tones synonym parent tones triad of synonym
I6 = VIm7 C6 1-3-5-6 Am7 6-1-3-5 Am
IIm6 = VIIm7b5 Dm6 2-4-6-7 Bm7b5 7-2-4-6 Bdim
IV6 = IIm7 F6 4-6-1-2 Dm7 2-4-6-1 Dm
V6 = IIIm7 G6 5-7-2-3 Em7 3-5-7-2 Em
major scale-tone secondary root triads in fourths

VIIm7b5 IIIm7 VIm9 IIm9/6 V9/6 Ima9/6 IVma9/6 I9/6 IV9/6
in C Bm7b5 Em7 Am9 Dm9/6 G9/6 Cma9/6 Fma9/6 C9/6 F9/6
on sixth VII dim IIIm VIm IIm VIm IIm
on root VII dim IIIm VIm IIm V I IV I IV
on third IIm V I IV VIIdim IIIm VIm III dim VI dim
Any sequence of chords with roots ascending in perfect fourths can be substituted with a parallel
sequence on the third of each chord. For the series IIm-V-I-IV, a parallel sequence can occur on the
sixth of each chord.
Notably, IIm V I can be substituted with VIIdim-IIIm-VIm or VIIdim-III-VIm. Conversely, VII dim-
IIIm-VIm (B dim-Em-Am) can be substituted with IIm-V-I (Dm-G-C). This gives tangible meaning
to the concept of relative major and relative minor, using entire relative cadences. These cadences could
be called relative major cadence and relative minor cadence.
For any three triads in fourths, upward stepwise voice leading can occur beginning on the fifth of the first
chord of the three. For example, IIm-V-I (Dm-G-C) can voice-lead major scale tones 6-7-1 (A-B-C),
since “6” is the fifth of the IIm chord, “7” the third of the V chord and “1” the root of the I chord.
Flat Five (Tritone) Substitute

See the chapter “Substitution”/Flat Five Substitute.
Chromatic Passing Chords

IIm and IIIm can be connected with a chromatic chord in-between, ascending IIm-#IIm-IIIm (Dm-
D#m-Em) or descending IIIm-bIIIm-IIm (Em-Ebm-Dm). Likewise, IV and V can be connected,
ascending IV-#IV-V (F-F#-G) or descending V-bV-IV (G-Gb-F).
Diminished chords can be used to descend roots a whole step. Follow a major or minor triad with a dimin-
ished triad on the same root, then the scale-tone chord down a whole step. V-V dim-IV or IIm-IIdim-I,
for example. In ascending a whole step, a major seventh, dominant seventh or minor seventh works better
than a triad, such as V7-#Vdim7-VIm (G7-G#dim7-Am). The triad part works, too, but not as strongly:
V-#Vdim-VIm (G-G#dim-Am).
Another way to chromatically connect roots descending a whole step is with a dominant seventh in-
between. This is categorized as a flat five substitute (see the chapter “Substitution”/Flat Five Substi-
tute). IIm7-bII7-I7 is a substitute for IIm-V7-I7, where bII7 is on a root a flatted fifth up or down from
the V7 it replaces.
A flat five substitute is a dominant seventh type chord on a note a half step above the root of the chord it
precedes. It doesn’t have chromatically connect chord roots a whole step apart (like Dm7-Db7-C7). It
can be a single chord preceding another with its root a half step above, like Db7 to C7. For the original
chords V7-I7 (G7-C7), the flat five substitute would be bII7 (Db7) and would make the progression
bII7-I7 (Db7-C7). It replaces a dominant chord like G7 with one whose root is a flat fifth above or
below (which is the same note whether above or below).
ways to chromatically fill in-between:
• scale-tone triads, up or down. In lieu of drifting scale tone sevenths, use chromatic progressions
like the four seventh chord parts of IIm13 to bII13#11 to I13. Connect two minors, major
between two majors and otherwise usually fill in chromatically with major.
• one pentatonic fingering to another, up or down.
• up or or down with stepwise 1-2-3-5 and chromatic passing chords 1-2-3-5 is harmonically
stronger that 1-3-4-5.

harmonic minor cadence examples
melodic minor cadence examples
four-beat/four chord cadence examples
Changed Chord Quality
Harmonized Scales
See “Triad Bass Harmonization”, “Jazz Bass Harmonization”, “Building Cadences with Chromaticized Bass”
and “Building Cadences with Linear Harmonized Bass”.
Thirds, Sixths and Octaves with Inner Thirds

In major, harmonic minor and melodic minor. See the chapter: “Thirds and Sixths”.

DECORATION CELLS
MICROTONAL BENDS
Bending a “Sad” Note to a “Happy” Note
Microtonal bends are expressive. Flatted odd number tones b3, b5, b7 and b9 suggest darker, sadder
moods. Bending any of those tones toward the natural version of the same note brightens the mood
and is called a microtonal bend.
In tablature, a microtonal bend is shown with a curved arrow and with “1/4” at the tip of the arrow.
This suggests that the pitch change is a quarter tone, equal to half a fret in pitch change, such as halfway
from flat three to three. The degree of bending should be more discreet than that. In standard music
notation, the symbol for a microtonal bend looks like a sickle or a Nike logo.
{
microtonal bends example - click to play
microtonal bend examples in A
œ œ b œ œ œ nœ
q = 90
4 œ œ b œ
∑ œ œ œ œ Ó
1
&4 œ œ œ œ œ
œ bœ
b7 5 b3 1 b7 5 b3 1 b3 b5 b7 1 b3 b5 b7 1 b9 1 b7 5
1/4
1/4 1/4 1/4 1/4 1/4 1/4
5 6 5
⁄
8 5 8 8 5
5 5 8
7 5 5 7
7 6
8 5 8
The little curved line that looks like a Nike logo is the microtonal bend symbol.
Flat three (b3) and flat seven (b7) microtonal bends are common.
Flat five (b5) microtonal bends are less common.
Flat nine (b9) microtonal bends are very rare.
`
If a half step were considered 100%, a quarter tone would be 50%. When applying a microtonal bend
to a chord that includes the flatted version of the note the microtonal bend is being applied to, such as
a flatted third during a minor chord, the degree of pitch change should be less, about 20-40%. If the
pitch change was much over 50%, it would suggest the natural three and would sound out of tune.
In applying a microtonal bend to a chord that includes the major version of the note the microtonal
bend is being applied to, such as a natural third during a major chord, the flatted third could be bent up
to about 80% or so toward the natural third. Bending 90-100% would no longer be a microtonal bend,
but would be a lower chromatic flat three bending up to natural three. In blues style, the microtonal
bend played against a major interval like a major third can be very little (30-30%), if you want a bluesy
effect. Flatted versions of tones are commonly played against natural versions in blues, b3 against 3, b5

against 5, flat seven against seven or flat nine against nine. Flat nine microtonal notes work, but are very
rarely used.
The Bend Curve
Typical Cells with Microtonal Bends Travel a Scale to a Chord Tone

BEBOP AND BAROQUE ORNAMENTATION

with turn and mordent
Upper Mordent
With an upper mordent, you play a note followed by it’s upper neighbor, then return to the original
note.
Lower Mordent
With a lower mordent, you play a note followed by it’s lower neighbor, then return to the original note.
Turn (Upper Turn)

In playing a turn (an upper turn), you play, in order:
• the initial note

• the upper neighbor of the initial note
• return to the initial note
• the lower neighbor of the initial note
• end with the initial note
Inverted Turn (Lower Turn)

In playing an inverted turn (a lower turn), you play, in order:
• the initial note

• the lower neighbor of the initial note
• return to the initial note
• the upper neighbor of the initial note
• end with the initial note

Turn Examples
Melodic Cell Sampler: Turns
slurred turns ascendingMelodic
or descendingCell
Melodic Sampler:
Sampler: Turns
in thirds
Cell Turns
Swing Eighths
œœœœ œ œ œœœœ
slurred turns ascending or descending in thirds
° #4 n œ
slurredG9 turns3ascending or descending in thirds
& 4œ œ œnœ œ œ œ œ œ œ Ó
Swing Eighths
° œ œ œ œ
Swing Eighths
°& ## 44 root œ 3œ œ œ œ
nnœœ œœ 3œœ œœ œœ œœ œ œ 3œ œœ œ Ó
G9
G9 3
& 4 œœ œœ œœnœ œœ œœ œ œ œ œœ œ œ œ œ œ œ Ó
3
nœ
third 3
1 3 1 1 3 5 7 35 3 5
3
¢⁄
3 5 33 1 3 5 5 3
root 4 5 34 2 4
2 third 5 3 3
root
5 7 5 3 5 third 3
1 3 1 1 3 5 7 5 3 5
¢¢°⁄⁄ # G‹9 3
3 5 3 1 3 5 1 3 1 5 1 3 5 7 5 3 5
2 4 5 4 2 4 5 3 5 3 1 3 5 5
œbœ œ œ œ
5 7 5 3 5 2 4 5 4 2 4 5
œ œ œ œ œ nœ œ œ œ œ œ 4
5 7 5 3 5
b œ œ œ œ œ œ Ó
& G‹9œ œ œ3nœ œ œ œ b œ 4
°
°& ## œ œ œ3 œ œ bœ œœ 3œ œ œ œœ œœ œœ 3œœ œœ œœ œœ nnœœ œœ 3œœ œœ œœ œœ
G‹9 œœ b œ 3œœ œœ œœ
ÓÓ 44
& œ œ œnnœœ œ œ bœ œ œ œ 1 3 1
3 5 1 3 5 6 5 3 53
4
¢⁄
3 5 33 1 3 5 3
2 3 5 34 2 3 5 3 3
5 7 5 3 5 3
1 3 1 1 3 5 6 5 3 5
¢¢⁄⁄
3 5 3 1 3 5 1 3 1 5 1 3 5 6 5 3 5
2 3 5 4 2 3 5 3 5 3 1 3 5 5
5 7 5 3 5 2 3 5 4 2 3 5
5 7 5 3 5
171217
œ œ œ n œ œ œ nœ œ œ œ œ œ œ œ œ œ
° # 4 171217
G9
œ œ œ
œ œ œ œ œ œ nœ œ œ œ Ó
3
& 4 G9 n œ
° œ œ œ
°& ## 44 œ œœ œ3 n œ œ œœ nnœœ œœ 3œœ œœ œœ œœ œœ œœ 3œœ œœ œœ œœ œ œ 3œ œœ œ œ œ œ3 œ œ Ó
171217
G9 3
& 4 5 3 35 7 5 3 œ œ œ œ œ œ nnœœ œ œ œ Ó
3
¢⁄
3 6 5 6 8 6 5 3 3 7 5 37 9 7 5 3
9 7 39 10 9 7
5 3 5 7 5 3 10 8 10 12 10
¢¢⁄⁄ G‹9
5 3 5 7 5 3 6 5 6 8 6 5
6 5 6 8 6 5 7 5 7 9 7 5
7 5 7 9 7 5 9 7 9 10 9 7
b œ
9 7 9 10 9 7 10 8 10 12 10
° # œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ
10 8 10 12 10
œ œ œ
bœ œ œ nœ œ œ nœ œ œ œ Ó
3
& G‹9 b œ
° œ œ œ
°& ## œ œœ œ3 b œ œ œœ nnœœ œœ 3œœ œœ œœ œœ œœ œœ 3œœ œœ œœ œœ bœ œ 3œ œœnœ œ œ œ3 œ œ Ó
G‹9 3
& 5 3 53 6 5 3 bœ œ œ nœ œ œ nnœœ œ œ œ Ó
3
¢⁄
3 6 5 6 8 6 5 3
3 7 5 37 9 7 5 3
8 7 38 10 9 7
5 3 5 6 5 3 10 8 10 12 10
¢¢⁄⁄
5 3 5 6 5 3 6 5 6 8 6 5
6 5 6 8 6 5 7 5 7 9 7 5
7 5 7 9 7 5 8 7 8 10 9 7
8 7 8 10 9 7 10 8 10 12 10
10 8 10 12 10

Melodic Cell Sampler - Turns
page
2 32 Melodic Cells MelodicMelodic
Cell TypesCell Sampler - Turns Part 6: Melodic Cells back to contents
2
1-7-1-2 1-2-1-7
° #G9 œnœ œ œ œ œ œ œœœ œ œ œ œ œnœ œ œ œ œ

G9
1-7-1-2 1-2-1-7
° &# œnœ œ œ œ œ œœœœ œœœ œnœ œ œ œ œ œ œ œ ÓÓ œ œ œ œnœ œ œ œ œœœ œœœœ œœœ œ œ œ œ œnœ œÓÓ
œ œ
& œnœ œ œ œ œ œ œ œ œ œ œ œnœ œ
5 3 5 7 5 5 7 5 3
¢⁄⁄
6 5 6 8 6 8 6 5
7 5 7 9 5 3 5 7 5 5 7 5 3 7 9 7 5
9 7 9 10 6 5 6 8 6 8 6 5 9 10 9 7
¢
10 8 10 12 7 5 7 9 7 9 7 5 10 12 10 8 10
9 7 9 10 9 10 9 7
10 8 10 12 10 12 10 8 10
1-7-1-2 1-2-1-7
° #G‹9
G‹9
1-7-1-2
œ œœnœœœœ œ œ œ b œ œ œ b œ œ œnœœœœœœœ 1-2-1-7
° &# œnœœ œbœœnœœœœœœœœnœœœœ œ œ œ b œ œ Ó œ b œ œ œnœœœœœœœœœbœœœbœœ œ œ œnœœ Ó

& œnœœ œbœœnœ Ó bœ bœœ œ œ œnœœ Ó
5 3 5 6 5 5 6 5 3
¢⁄⁄
6 5 6 8 6 8 6 5
7 5 7 9 5 3 5 6 5 5 6 5 3 7 9 7 5
8 7 8 10 6 5 6 8 6 8 6 5 8 10 8 7
¢
10 8 10 12 7 5 7 9 7 9 7 5 10 12 10 8 10
8 7 8 10 8 10 8 7
10 8 10 12 10 12 10 8 10
slurred turns ascending or descending in thirds

1-2-1-7-1-2 or 1-7-1-2 ascend thirds: slurring the first there notes (bend, hammer, pull-off )
1-7-1-2-1-7 or 1-2-1-7 descend thirds: slurring the first there notes (bend, hammer, pull-off )
Adjacent String Legato Slurring
Cadence Ornament Rhythms

(see also Charlie Parker Design)
Indian Classical Ornamentation

as on the sitar: mind (meend), andolan, kana, murki, khartka, gamma

THEME AND VARIATION CELLS

By definition, these employing these cells requires two or more cells, in some form of statement
and response.
Rhythmic Theme and Variation
Core Melody and Elaboration
Melodic Curve Theme and Variation

(examples here)
This can incorporate all the previous melodic cells. See Theme And Variation/Harmonic Theme And
Variation/The Melodic Curve. Build each theme with a cluster of chord tones (on a single chord), up to
a ninth chord. Particularly use upper and lower neighbors. Pairs of linear chromatic upper neighbors
are great. Melodic theme and variation is typically played on three adjacent strings. The best string set
is five, four three, since they are not too bassy and don’t involve the tuning change between the third and
second string.
Play the same melodic curve on another part of the same larger chord, or on the next chord in the pro-
gression. For example, build a theme on the G7 part of G9, then use the same melodic curve and play it
on the Bm7b5 part of G9. Usually use the same fingering orientation. If the G7 meloidic curse started
with the index finger on the root, also start the Bm7b5 with the index finger on its root.
Call And Response

STYLES AS CELLS
Styles may employ a number of cells. Once you become familiar with a style, you can play as briefly as
a few beats in the style, making the style a cell of sorts.
Blues Licks
(based on minor pentatonic)
Swing Blues Licks

(based on major pentatonic)
Rock-A-Berry Licks
Double Stops and Jazz Blues Double Stops

See the chapter: Double Stops
Pedal Steel Bends

Charlie Parker Design

Charlie Parker’s main designs
• Chromatics. Ascending by preceding a chord tone with one or two chromatic tones immediately
below. Descending by following a chord tone with two chromatic tones immediately below it,
then playing the next lower chord tone.
• Dual melody. In an imitation of two-voice counterpoint on one instrument, play one or more
notes of a melody in the high range of pitch, beginning a second melody with one or more notes
in the low range, then alternate between the two ranges.
• scalar encircling. Approaching a chord tone by linear scale movement, but passing it by one
scale tone before playing it.
• “V” design. Up/down or down/up with a quick, ornate melodic figure at the peak or valley.
• Cadence ornament rhythm. Short melodic phrases (5-10 notes) involving a mordent or turn
that suggest a two-chord cadence. Use more syncopated sixteenths for a more modern sound
(Bitches Brew era and later).
Practice getting your melodic performance chord cadences really tight rhythmically. Sometimes
you’ll want to play phrase loosely placed metrically (not matching the comping chord with the
chord you are suggesting), sometimes tight (matching comping and improv chords), exactly on
the beat to show the song structure to the listener.
• Changed chord quality. Usually displayed with two consecutive arpeggios, the second one with
a flatted tone. Sometimes superimposed where drastically contradicting the original chord.
• Staggered core tones and elaboration. Use a core melody with elabaloration such as a core
melody of three ascending scs;e tones with notes between them that lead to each.
Consider this interpretation of the first bar of Charlie’s head melody to Anthropology
in Bb: he used a core melody with the notes D, Eb and F. Each of those is
preceded by a note a third below, making three pairs of notes in thirds. Finally, he
inserted a passing scale tone between the first and second pair of thirds (the note
“C”) and a lower chromatic before the next to last note in the bar.
three scalar encircling fingering categories:
• the target is fretted with the index finger, so the lower neighbor is on the next larger string with
the ring or little finger and the upper neighbor is on the same string with another finger.
• the target note is fretted with the middle or ring finger where the target, the upper neighbor and
the lower neighbor are all on the same string.

• the target is fretted with the little finger, so the lower neighbor is on the same string with another
finger and the upper neighbor is on the next smaller string fretted with another finger.
fingerings for “V” design:
• In-position major scale fingerings and their three-note-per-string versions for speed. Include
their harmonic minor and melodic minor variants. See Prime Scales, Chords and Arpeggios/
Seven Tone Scales in Seven Areas with Tertian Arpeggios in Black and Gray.
• Full-tertian arpeggios, especially minor eleventh and dominant thirteenth
build cadences with cadence ornament rhythms

Using resources like Charlie Parker’s solos in Confirmation, Moose The Mooche, Ornirthology, Yardbird
Suite, Anthropology and Scrapple From The Apple and apply them to cadences. Put these cadences
at the top or bottom of Parker’s “V” design to build a four-bar, “V” design phrase. Learn a cadence.
Typical two-chord cadences most commonly start on beat three and end on beat one or sometimes start
on beat one and end on beat three. Typical three-chord cadences place the first chord on beat one of
the setup bar before the target “I” chord, the second chord on beat three of the setup bar and end on
beat one of the target chord.
At the beginning of a four bar phrase, play a scale, arpeggio or combination to ascend or descend to
the cadence The target I chord would typically be on beat one of bar three, on the target chord. Then
finish bars three and four with a scale or arpeggio (or combination) to in the opposite direction from
the beginning to complete the four-bar “V” design.
The cadence ornament rhythm replaces one of four swing eighth notes with a sixteenth pair or with a
sixteenth triplet.
Use the full-tertian concept to locate chord tones of a setup chord. A II chord can be thought of as a
setup for a V chord. Then the V chord can in turn be thought of as a setup for the target I chord. bII
as a setup to I works similarly to the full tertian concept but, being a more chromatic chord, it changes
scale too much to be thought of in terms of full tertian. However, a bVIm9(ma7)-bII-I cadence can use
bVIm9 as an “other full-tertian of bII”. When you are playing an arpeggio in thirds, the notes you are
skipping (every-other scale tone) make up the “other full tertian” arpeggio.
Two-Chord Cadences
One setup chord, one target chord. Examples below are for a Bb target I chord. Use the same strategies
of practice as in practicing three-chord cadences, but omit the first chord and continue the “lead-in” in
place of the first chord.

major V I (F9 to Bbma7 or Bb7)

F9 with its root (F) on the fifth of Bb below the Bb root uses the “other full tertian” in relation to the
target Bb major triad. V9 (F9) is to I7 (Bb7) is more harsh than the softer Vm9 (Fm9) to I7 (Bb7).
Mixolydian Vm I (Fm9 to Bb7)

Fm9 with its root on the fifth of Bb (F) below the Bb root uses the “other full tertian” in relation to the
target Bb major (Bb Mixolydian) triad.
bII Lydian dominant to I (B13#11 to Bb)

Any four-note part of B13#11 can resolve to a Bb or Bbm triad part of a larger Bb (or Bbm) chord.
minor V Im (D7 or Dm7 to Gm)

D7b9 with its root (D) on the fifth of Gm below the Gm root uses the “other full tertian” of G har-
monic minor in relation to the target G minor triad. For a softer, cadence, Dm9 with its root (D) on
the fifth of Gm below the Gm root uses the “other full tertian” of G Aeolian in relation to the target G
minor triad.
Three-Chord Cadences
practicing three-chord cadences

At slower tempos (around 75-130 BPM), use sixteenth notes. Beats three and four of the pickup bar
each represent a chord with four-sixteenth notes. Beat one of the next bar is the target chord (the third
chord in the three-chord cadence). Replace one or two of those sixteenths with a pair of thirty-second
notes or a thirty-second note triplet, making a little flurry.
At faster tempos (130-250 BPM), use eighth notes, beats one and two of the pickup bar has four eighth
notes to represent the first chord. Beats three and four of the pickup bar represent the second chord of
the cadence. Beat one of the next bar is the target chord (the third chord in the three-chord cadence).
Replace one or two of those eighths with a pair of sixteenth notes or a sixteenth note triplet, making a
little flurry.
Develop the ability to play continuous fast notes to be prepared when you need it Practice the whole
thing in continuous eighths or sixteenths: the lead-in, the “cap” (cadenced target phrase) and the tail
out. Separately, practice the upward or downward lead in to the target on the first beat and the “tail” out
immediately after the target tone with continuous sixteenths or eighths (depending on the temp), really
tightly in the groove. Many uptempo Pat Martino improvisations use continuous straight sixteenths at

130 BPM. Rude Mood by Stevie Ray Vaughan uses swing eighths at 262 BPM. Crossroads live with
Bonamassa and Johnson uses continuous straight sixteenths at 140 BPM.
Placing the phrase against the meter Get your performance of the chord cadence really tight rhythmi-
cally. Sometimes you’ll want to place the phrase loosely metrically (not matching the comping chord
with the chord you are suggesting). Periodically place the phrase with the target chord on “one” to show
the song structure to the listener, especially at the end of a section.
Two setup chords, one target chord make a three chord cadence. The examples below are for a Bb
target I chord.
“I” can be a temporary key, so “Bb” could be temporarily “I” where it is a target during a piece in a key
other that Bb. In the key of F for example, Bb is a IV chord in relation to F, but Bb could be thought of
as “I” of a temporary key of Bb.
major II V I
Cm9 F9 Bbma7 or Bb7. Cm9 with its root (C) on the fifth of F, below the F root uses the “other full
tertian” in relation to the F major target triad. In turn, F9 with its root (F) on the fifth of Bb, below the
C root uses the “other full tertian” in relation to the Bb major target triad.
II Dorian to bII Lydian dominant to I (Cm9 B13#11 Bbma7, Bb7 or less commonly, Bbm)
Cm9 (IIm9) with its root (C) on the second of the ultimate target Bb, below the F root uses the “other
full tertian” in relation to the eventual F major target triad. B13#11 can be used in-between the Cm9
and Bb target to make a three chord cadence. Any four-note part of B13#11 can resolve to a Bb or Bbm
triad part of a larger Bb (or Bbm) chord.
bVI melodic minor to bII Lydian dominant to I (F#m9(ma7) B13#11 Bbma7 or Bb7)
F#m9(ma7) (bVIm9<ma7> of Bb) with its root (F#) on the second of the target B13#11, below the B
root uses the “other full tertian” in relation B13#11. B13#11 should in turn resolve to a Bb triad tone.
minor IIm7b5 V I (Am7b5 to <D7 or Dm7> to Gm)

IIm7b5 (Am7b5) is nearly the same as V7b9 (D7b9) no root ( = F#dim7). Decending the flatted
seventh of IIm7b5 (Am7b5) a half step to six makes it IIm6b5 (Adim7), which is the same notes as
IIdim7 (Adim7) and the same notes as V7b9 (D7b9) no root. V7b9 (D7b9) no root has four dimin-
ished seventh names in relation to the I minor key (G minor): VIIdim7, IIdim7, IVdim7 and bVIdim7
(F#dim7, Adim7, Cdim7 and Ebdim7). So, IIm7b5 to V7b9 is a more passive chord change, since it
only changes one note.
D7b9 no root is D7b9 no root (F#dim7), with its third (F#) on the seventh of G harmonic minor below
the Gm root uses the “other full tertian” of G harmonic minor in relation to the target G minor triad.
For a softer, cadence, Dm9 no root with its b3 (F) on the flatted seventh of G Aeolian uses the “other
full tertian” of G Aeolian in relation to the target G minor triad.
minor bVI13#11 V Im (Eb13#11 to D7 to Gm
bVI13#11(Eb13#11) is a bII of V7 (D7). Any four-note part of bVI13#11 (Eb13#11) can resolve to a
V (D) triad part of a V7b9 or chord except the #11 (A) of bVI13#11 which is a common tone of V (D).
The remainder of the cadence, V Im is described above in the Two-Chord Cadences section (MINOR
V Im).

BLUES MELODIC CELL EXAMPLES

G Blues Sampler 1
featuring 1235 and chromaticizedG
arpeggios
Blues Cell Sampler 1
Swing Eighths
° #4 œ œ œ œ œn œ b œ œ nœ œ
œ ‰ J nœ œ œ œ œ œ œ #œ œnœ œnœ œ œbœ nœnœ œ
G9
#Æœ
J
& 4 nœbœbœ nœbœ œ œ œ
3 3 3
2 upper chrom. 2 upper chrom.
Dm 1-2-3-5 B dim 1-2-3-5 Am 5-3-2-1 Db 5-3-2-1
3 6 7 3 5 4 3 5 3
3 5 3 6 5 6 5 3 3 6 5 3 5
¢⁄
4 5 6 5 4 2 1
3
6 4 5 4 3 2
° # b œ œ œ œ œ œ œ œ œ œ bœ bœ n œ œ b œ œnœ œbœ
C9 G9
œ J œb œ œ
3
& bœ bœ œ nœ bœ œ nœ nœ œ œ ‰ œbœnœ
3 3 3 3
E dim 1-3-4-5 C 5-3-2-1 Ab 5-3-2-1 Gm 1-2-3-5 Dm 1-2-3-5 2 lower chromatics below each chord tone
6 5 3 5 3 3 5 4 3
5 5 3 4 3 6 5 4 3
¢⁄
5 4 3 2 3 2 6 5 4 3 2
6 5 3 2
5
n œ œ n œ C9œ b œ œ
° # œ n œ œ
D9 G7 C7 G7 D7 G7
nœ nœ œbœ œbœ œ œ œ œbœ
& nœnœ œ œ œnœnœ œ#œnœnœ œ œ bœnœbœ œnœ Œ Ó
3
3 3 3
Dm13, 3 to 13 G minor pentatonic Dm G triad with C69 G6 Ebm 5-3-2-1

with lower chromatic with passing b5 chromatic #2 chromatic on fifth of Ab9
to b3
7 8 10 8 6 3 5 3
8 6 3 3 3 5 5 3
¢⁄
9 6 5 3 2 3 4 5 4 3
7 10 3 5 4 3 5
7 8 5 6 5

G Blues Sampler 2
featuring 1345 and chromaticized arpeggios
G Blues Cell Sampler 2
° # 4 œ œ≈œr≈œ œ œ‰ ™ r œœœnœ œnœœœ œ œ œœœœœœœ œ œbœœ≈nœR ≈ r œ#œœœ #œœ≈ r≈nœbœœ≈œnœnœœnœbœ

G9
œ œ œ œ œ œ
& 4 nœ œ œ œ œ œ œ œ≈
œ bœ nœ œ r≈ œ nœ œ
œœ œ œœœ
Bdim 1-3-4-5 F 5-4-3-1 G Mixo 2 upper 2 upper chrom. 2 to 5 2 upper G Mixo
Gm 5-4-3-1
Dm 1-3-4-5 chrom. chrom. chrom.
5 8 7 5 3 3
3 3 3 3 3 3 35 6 68 653 3 5 43 3 5 43 6 53
¢⁄
2 2 2 2 2 2 4 7 54 4 2 345 6 5 3
3 3 3 3 3 3 5 5 4 3 3 3 5
2 2 2 2 2 2 5
° # œ œ œb œ œœ
nœœ œœœbœ œœ œbœœ≈nœR ≈ r œ#œœœ #œœnœnœ œœ#œn œ œnœb œœœœœ≈#œ
C9 G9
≈œœœ ≈ nœ≈ r≈
& œœ nœnœ œœ œbœ nœ œ œ R
bœ
Dm 1-3-4-5 F 5-4-3-1 G Dorian 2 upper 2 upper chrom. 2 to 5 Dm pent. add #4
Bb 5-4-3-1 Ddim 5-4-3-1
chrom. chrom.
5 8 6 5 3 3 4 5 3 43
333 68 653 3 5 43 3 5 6 633 4
¢⁄
5 5 3 4 2 345 6
3 2 5 4 3 3
5 1 5
° # œnœnœ œbœ œ r nœbœ œ r

D9 C9 G9
& nœ œ#œœœ œœnœ#œ œ œœ≈ r ≈œbœœ≈œR ≈ r ≈nœ#œœ ≈œR ≈nœr ≈ œ≈R ≈œ #œœœ#œ œœ≈ r ≈ œ≈R ≈œ Œ
œ œ œ
Am 5-4-3-1 2 lower F#dim 5-4-3-1 2 upper 2 lower 2 upper chrom. #2 to 5 2 upper
chrom. chrom. chrom. chrom. chrom.
3 3
5 3 3 5 43 3 5 43
¢⁄
5 2 345 4 2 4 2 5 345 6
4 2 65 3 45 3 5 5 5
3 3 2


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Part 6: Melodic Cells back to contents

• Melodic Cells Defined

• MELODIC CELL TYPES

• Blues Melodic Cell Examples

©1998-2024 Jim Gleason. All Rights Reserved.

MELODIC CELLS DEFINED

Cells of Creative Origin

Cells of Logical / Mathematical Origin

©1998-2024 Jim Gleason. All Rights Reserved.

CELLS ON SETUP CHORDS OR TARGET CHORDS

Preview the Target Chord

represent cadences with arpeggio

©1998-2024 Jim Gleason. All Rights Reserved.

The One to Two Seconds Rule

©1998-2024 Jim Gleason. All Rights Reserved.

INTEGRATING CELLS INTO YOUR IMPROV

Practice Each Separate Cell

Free Improv at the Same Rhythmic Level as the Cell

Whimsically Combine Cells and Free Improv

Personalize Your Cells

©1998-2024 Jim Gleason. All Rights Reserved.

MELODIC CELL TYPES

MELODIC RHYTHM CELLS

CHROMATICIZED ARPEGGIO CELLS

©1998-2024 Jim Gleason. All Rights Reserved.

HARMONIC TYPE MELODIC CELLS

THEME AND VARIATION CELLS

©1998-2024 Jim Gleason. All Rights Reserved.

LINEAR SCALES AND ARPEGGIOS AS CELLS

Arpeggios of the Current Chord

Bach’s Well-Tempered Clavier, Prelude 1 in C

Afternoon In Paris - linear arpeggios

Arpeggio Phrases with Non-Chordal Tones

©1998-2024 Jim Gleason. All Rights Reserved.

Two and Three String Cluster Playing

three strings tuned in fourths for fragment patterns

three strings tuned in fourths for theme and variation

numbered fingering for two or three strings in fourths

seven in-position fingerings, numbered by scale tones

in-position major scale fingerings by finger number

11 11 (1)(1) 1 11 1 11 1 (1) 1 1 1 1 (1) 1 11 1 111 11 11 1

©1998-2024 Jim Gleason. All Rights Reserved.

Flipping Tertian Cadences

four-note versus three-note cells

©1998-2024 Jim Gleason. All Rights Reserved.

mordent as a flipping tertian

1-3-2-1 and 1-6-7-1

©2015 Jim Gleason. All Rights Reserved.

©1998-2024 Jim Gleason. All Rights Reserved.

° 1-3-2-1-2 transistions Œup a scale tone, as "C" to "B" below

° œœœœœ Œ œœœœœœœœ œœœœœ œœ œ

& œ Œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœ Œ

° œœœœœ Œ œœœœœœœœ œœœœœœœœ œœœœ œœ

& œœœœœ Œ œ œ œ œ œ œ œ œ œ œœ œœœœœ Œ

° œœœœœ Œ œœœœœœœœ œœœœœœœœ œœœœ œœ

& œœœœœ Œ œ œ œ œ œ œ œ œ œ œœ œœœœœ Œ

& œ œœœœœœœœ œœœœœ œœ œ Œ

° œ œœœ Œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœ

1-2-1-6-7, 1-2-1-3-2, 1-7-1-6-7, 1-7-1-3-2