Example3 Connecting major II V lines
Once again, there is a clear connection here between the melodic choices and the underlying harmony, although Emily is not restricted to just chord
Dbmaj7 Bbm7 tones alone. We see a superimposed arpeggio against to
Bbm9 Eb7 create in bar 2, followed by an enharmonic Gmaj7 against in bar 3,
Db containing a dissonant D natural against the in the chord. As this forms part
Eof a thematically-developed melody and is played with both dynamic and rhythmic intent, it works perfectly well and you probably wouldn’t be aware of any form of clash if I hadn’t drawn your attention to it. While the rhythmic content is mainly eighth-note derived, the occasional triplets, rests and syncopations provide hugely effective punctuation to the lines.