JAZZ COMPOSITION THEORY AND PRACTICE

MELODIES BASED ON GUIDE TONES

Some of the most enduring melodies ever written have been based on guide tones. For
example, “Autumn Leaves” is based on the following guide tone line:

A–7 D7 GMaj7 CMaj7 F –7( 5) B7( 9) E–

3 7 3 7 3 7 3

Guide tones are chord tones or tensions that move by step or by common tone to a chord
tone or tension in a subsequent chord. They simultaneously imply the chord quality of
the moment while creating a need to connect to the next chord in the progression.

D–7 G7( 9) D–7 G7( 9) D–7 G7( 9) D–7 G7( 9)

7 3 3 7 T9 7 T11 T 9

B –7 E 7 CMaj7 FMaj7 G–7 C7( 11) A –7 D 7

7 3 3 7 7 T 11 5 T9

Most guide tone lines tend to resolve downward.

D–7 G7 CMaj7 C7 FMaj7 B 7 CMaj7 A7

7 3 Maj7 7 3 7 5 7

However, some of the most dramatic guide tone lines move upward (against the grain).

D–7(9) G7 CMaj7( 11) C7 FMaj7 B 7 CMaj7 A7( 9)

T9 7 T 11 5 3 1 Maj7 T 9

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 CHAPTER 1 MELODIC CONSIDERATIONS

EXERCISE
The purpose of the following exercise is to find multiple guide tone lines on the same set
of chord changes. Voice lead the given guide tones in the designated direction (down or
up). Use common tones and/or stepwise motion. Include tensions as appropriate. The
same changes are to be used for each eight-measure example.

(Note: alt = altered dominant; % 9, # 9, % 5, % 13 are all available.)

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

7 3 7 3 7 3 7 3

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

7 T 5 3 7

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

5 T 9 5

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

3 7 3

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

3 7

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

T11 T 9

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

1 T 13

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

1 T 5

F –7( 5) B7(alt) E–7( 5) A7(alt) D–7( 5) G7(alt) C–7( 5) F7(alt)

T11 1

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JAZZ COMPOSITION THEORY AND PRACTICE

EMBELLISHING A GUIDE TONE LINE

Effective melodies can be written by simply embellishing a guide tone line.

Embellishments consist of passing tones, neighbor tones, escape tones, pickup notes,
and suspensions. Anticipations and delayed attacks contribute additional rhythmic
interest. (Note: In the following examples, embellishments are circled.)

Original Embellished with passing tones

D7 G7 D7 G7

PT PT Ant. PT
DA

Original Embellished with neighbor tones

D–7 G7 CMaj7 A–7 D–7 G7 CMaj7 A–7

DA NT Ant.
NT Ant.

Original Embellished with escape tones

D–7 G7 D Maj7 C D–7 G7 D Maj7 C

DA ET ET ET Ant. Ant.

Original Embellished with pickup notes

D7 G7 D7 G7

PUN PUN
DA

Original Embellished with a suspension

B–7( 5) E7( 9) A–7 E +7 B–7( 5) E7( 9) A–7 E +7

Ant. susp DA

See “And Why Not?” on the next page.

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 CHAPTER 1 MELODIC CONSIDERATIONS

4 And Why Not?

Ted Pease
D–7 G7 C6 A–7 D–7 G7( 5) CMaj7
1 2 3 4
Guide Tone
Sketch

Medium samba
Resulting
Melody

B–7( 5) E7( 9) A–7 E +7 D7 G7

5 6 7 8

F –7( 5) B7( 9) E–7 A–7 D–7 G7( 9) CMaj7 C7

9 10 11 12

FMaj7 F 7 C/G A7( 9) D–7 G7 D Maj7 C6/9

13 14 15 16

As you observe this example, notice that:

1. Guide tones can move up (measures 3–5, 10–11, and 15–16), down (measures
1–2, 9–10, 13–14), and sideways (measures 9, 13, and 16).

2. Within the duration of a chord, you can skip or leap to another guide tone before
moving on (measures 4, 7, and 8).

3. You can also skip or leap when two chords share guide tones (measures 11, 12,
and 14).

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JAZZ COMPOSITION THEORY AND PRACTICE

EXERCISE
1. Write an eight-measure melody that consists of an embellished version of the given
guide tone sketch. Label your embellishments.
Sketch
FMaj7 B 7 A7 D7

G7 C7 FMaj7 B 7 FMaj7

Your Melody
Medium swing
FMaj7 B 7 A7 D7

A
DA IR

G7 C7 FMaj7 B 7 FMaj7

2. Write an eight-measure melody that consists of an embellished version of the given

guide tone sketch. Label your embellishments.
Sketch
FMaj7 B 7( 11) A7( 9, 13) D7( 9)

G7 C7 5( 9) FMaj7 B 7 FMaj7( 11)

Your Melody
Medium bossa nova
FMaj7 B 7( 11) A7( 9, 13) D7( 9)

PT A
DCHR

G7 C7 5( 9) FMaj7 B 7 FMaj7( 11)

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 CHAPTER 1 MELODIC CONSIDERATIONS

3. Create your own guide tone sketch on the given changes. Then write a melody
consists of an embellished version of the sketch. Label your embellishments.
Sketch
D–7( 5) G7( 9) A Maj7 D Maj7

E–7 A7 DMaj7 CMaj7

Your Melody
Ballad
D–7( 5) G7( 9) A Maj7 D Maj7

E–7 A7 DMaj7 CMaj7

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JAZZ COMPOSITION THEORY AND PRACTICE

MELODIES BASED ON COMPOUND LINES

Some melodies are based on compound lines. Compound lines consist of two (or more)
guide tone lines that proceed through a set of chord changes simultaneously. A melody
can be created by alternating between the guide tones. Observe the example below, and
then turn to the tune “Diminishing Returns” on the next page.

meas. 1–8
B –9 F 7/B F 7/B E 7/B
5 T T

etc.
1 3 3 3

meas. 21–27
E –7 G –7 A–7 C–7 E–9
5 T9 T13 5
etc.
1 1 5
T9

meas. 29–46
D–9 G7( 9,13) CMaj7 F–7 B 7( 9,13) A7( 9,13)
T11 T 9 5 1 1

3 T11 T 9 T 9

A 7 A 7 B –9 F 7/B D Maj7/A G 7/A G 7/A D 6

1 7 5 7
T 3 7 1

5 3 5 1 1 3

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 CHAPTER 1 MELODIC CONSIDERATIONS

5 Diminishing Returns
Ted Pease
Fast Latin
B –9 1 B –9 3

(vamp)
F–6
F 7/B F 7/B E 7/B
3 3 3

1
C7( 9) D 7( 9) (swing)
C7( 9) F–6
10 (break)
3 3

14
B –7 E 7( 11) A Maj7 D7sus4 E7sus4 D7sus4

19 GMaj7 (piano fill) E –7 G –7 A–7 C–7

2
(swing)
E–9 E–9 F7( 9) D–9 G7( 9,13) CMaj7
25
(piano fill)

F–7 B 7( 9,13) A7( 9,13) A 7 A 7

32

(Latin)
37 B –9 F 7/B D Maj7/A

G 7/A G 7/A D 6(9) C–7( 5) F7( 9)

42 3

(rhythm break)

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JAZZ COMPOSITION THEORY AND PRACTICE

EXERCISES
Complete a compound line on the given changes. Then write a melody that consists of
an embellished version of the sketch. Label your embellishments.

Sketch
CMaj7 B–7 E7( 9) A–7 D7 G–7 C7

FMaj7 F–7 B 7 E–7 A7 E –7 A 7

D–7 G7 E–7 A7( 9) D–7 G7

Your Melody
Medium blues
CMaj7 B–7 E7( 9) A–7 D7 G–7 C7

N.T. added chord tone N.T.

FMaj7 F–7 B 7 E–7 A7 E –7 A 7

D–7 G7 E–7 A7( 9) D–7 G7

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