This phrase will also be organized along chord notes, or inversions. Played in its common position, it sounds from the 3rd interval, and we'll proceed to playing it going downwards as well as upwards:

The same two ideas presented in minor:

Same two ideas, but in minor:

It's time to introduce the polyrhythmic thinking from the discussion about Lennie Tristano. I'll chop the phrase up so that it's underpinned by four 8th notes, then by five 8th notes, adding up to a subdivision of 5/8 over 4/4. Note the appearance of brackets under the notes, which is where I'll indicate rhythmic organization.

And finally, a combination of the ideas presented so far, integrating both rhythmic and melodic manipulation of the phrase, in major and minor:

In the ascending variation of the same idea, I'll start from the second step of the scale, to create a phrase that contains some tension from the outset. I'll also end on the 7th interval, for the same reason:

Let's go back to the initial rhythmic profile of this phrase, and instead start looking at ways of organizing it in mediant relations (in reference to Coltrane, White and Bair, see above) - thus manipulating the tonality rather than the rhythm. I suggest playing the phrase around two chord notes of the root chord (around the 3rd and 1st intervals), then shifting to a tonality of Db (a major 3rd below the root tonality of F), and starting on the root note of this new tonality - it's the closest note to the one we came from. After playing the phrase once in Db tonality, we'll then play it once around the root note of a Bb tonality (a minor 3rd down from Db). The "mediant tonalities" will be illustrated by chords strummed on a guitar in the background, and by brackets above the staff: