In some jazz standards I see a final ending of
V-I using melody tones
^3 ^1, for example...
All of Me in
Note that the
^3 in those examples is not some kind of embellishment of
^2 like in a cadential
6/4 or an escape tone like in these examples...
Over the Rainbow in
Autumn Leaves in
In the last two the
^3 can be explained as an escape tone, but in the first two there is no such embellishment.
Also, to be clear, this isn't about
^3 ^1 after arriving at a tonic chord. The point is the
^3 coincides with the dominant chord.
I'm not asking about extended or "color" tones added to chords. I understand that a major sixth gets added to jazz dominants all the time.
I'm not asking about if it sound right, it's obviously part of the jazz style.
I'm more interested in the melodic aspect and whether there is a historic origin for this kind of ending. Perhaps this is a pattern in folk or blues melodies?
Also, I don't have or know of definitive, notated versions of
All of Me, so I don't know if the composers originally wrote a plain dominant seventh chord in the accompaniment while the melody used
^3. That would be interesting to know compared to the dominant chord being like an Evans, rootless type, like
7236, where the melodic
^3 is actually present in the accompaniment chord as the
6 above the chord root. The later can be explained as a "chord tone", but the former is a sort of juxtaposing of dominant in the accompaniment and a tonic tone (
^3) in the melody.
So, I supposed what I'm wondering is: is there a historic origin to this or was it truly a new stylistic development?