Another Look at Melodic Construction in Improvisation

What do we play? Where does it come from? How do we make our own melody?

The melody of the song or tune

The rhythmic structure

An alternative positive melodic statement derived from the harmonic or rhythmic environment, or a melody from another song that fits the “changes”

The development, embellishment, and ornamentation of the above ideas through the use of non-harmonic – , or non-chord -, tones.

For the sake of this presentation, we will focus on the last category, particularly the role of non-harmonic tones.

A frequently used technique in melodic construction is the use of non-harmonic tones, followed by their resolution. Through the use of these tones, tension and release can be employed within the melody itself, giving the melodic line a life and power independent of its underlying harmony. The introduction of non-harmonic tones means that any note of the chromatic scale can be played on any chord, provided that it resolves to a chord tone.

Types of non-harmonic tones

I. Passing tone: A non-chord tone added between two different chord tones, either a step or half-step away, usually from the chordal scale –



II. Neighbor tone: A non-chord tone added between two chord tones of the same pitch, either a step or half-step away –

III. Appoggiatura: A non-chord tone preceded by a leap from a chord tone and resolved by a step or half-step to a chord tone, usually in the opposite direction from the leap –

IV. Escape tone: Non-chord tone a step or half-step away from its preceding chord tone, resolved by a leap to a different chord tone –

V. Changing tones: 2 or more notes, beginning a step or half-step either above or below a chord tone, which then skips to another tone, usually a major or minor third away, on the other side of the chord tone, then resolves to the originating chord tone by either a step or half step –

Additional notes can be inserted chromatically either before or after the skip in a changing tone series:

Or, the originating tone can be left out:

VI. Suspension:

A. A delay in the resolution of a non-chord tone that may have existed in the previous chord –

B. A deliberate displacement of a chord tone for an alternate harmonic effect –

C. A neighbor tone not preceeded by a chord tone resolved to a chord tone, where the target tone may exist in the underlying harmony, creating a dissonance –

VII. Anticipation: Early arrival on a chord tone from the next chord –

VIII. Approaches: A series, pattern, or sequence of notes aiming toward a chord tone, but extending further back in time than the traditional ornamentation types –

A. Stepwise, either whole, half, or some combination thereof:

B. Via sequence:

1. Stepwise –

2. Diatonic pattern –

3. Intervalic pattern –