This is scan from Mark Levine book Jazz theory. I don't understand why 4th note will not cause dissonance in 3-9.
Why 4th note is not passing note in 3-8 ? In both example 4th note is on upbeat and between G and E.
I suspect that in the descending passage where the F resolves downward to the E as in the resolution of the V7 in the key of C it is more comfortable to the ear. In an ascending passage where the F is followed by a G there is not the same "resolution". One common "workaround" to this is to play F# when improvising over Cmaj7 to suggest a Cmaj9#11.