Very similar to Charlie Parker's Confirmation V I lick, this ii-V-I passage makes heavy use of the concepts of passing tones and neighbor motion. It is an interesting microcosm of many melodic composition techniques. During the B- chord, Bird works to create two voices with one line. In the upper voice the melody passes down from the B through the 7th of the chord (A) to the 3rd of the E chord: G#. The lower voice approaches the G# from the F# below, the 5th of the B- chord. The melody then leaps a 7th to the Flat-9 of the E chord: F-natural. The F then resolves down to the 5th of the A chord passing through two lower neighbors. This is a resolution typical of bebop solos: Flat-9 to 5. Additionally, this lick is very idomatic of the saxophone and lays very easily over the horn in this key.