17.25Chord-tone targeting still matters

Suppose progression:

Dm7 → G7 → Cmaj7

and melody targets:

F → B → E

Decorate:

Over Dm7:

E → F

Over G7:

C → B♭ → B

Over Cmaj7:

F → E

Now the underlying target line remains:

F → B → E

The embellishments simply make the journey richer.