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105

Example 2: Shifting Melodic Order

S
1 2 5 6 1 2
^
6
fr* \>» f

4 2 4
m

m
16 1 2 6 5
^-*-
1 2 3 4

^v¥¥
53*
'-'^j ' 1 2' ^ 5 2 6 1 2 5 6
7 8 1 2 5 6
4 2 T

?T»
RJC
J \im
5 2
6 5 1 2 6 5 l 3 4 f^lff
W^ 5 6

10
i
aEE
vi v r 3
w s
6 1 6 2 4 2 2
e
6 1 2
4 5 5 '6 2 5 6 2

6
8 5 '»":w»mm
1 2 3 4 1 2 7 5 n
6
4 2 '
^F^

The next step for Osby was to make sense of this new conception as it relates

to voice leading and playing over chord changes. In many senses, Osby had to find a

new way to "connect the dots" so to speak when improvising over common,

longstanding chord progressions in jazz like the 12 bar blues, Rhythm Changes, and

Cherokee changes. One of the things that he used to achieve this was to add leading

tones to his new melodic configurations to briefly tonicize certain tonal centers on his

path between each chord symbol.35 It was of the utmost importance to Osby that his

new style of playing be applicable to virtually any and every musical situation.

35
ibid.