EXAMPLE3 MELODIC PHRASING THROUGH FUNCTIONAL CHANGES

Yet more functional changes here in the key of - probably the favourite jazz key. Martin sails through them clearly with expert manipulation of the chord tones and supreme rhythmic command. As suggested in the main body of the text, try playing this idea completely unaccompanied and you should still be able to clearly hear the harmonic information intact, from start to finish. Try playing through a few ii-v-is in eighth notes and see if you can do the same.