Nailing the V7 BY GREG COOPER (OFFERING TENSION AND RESOLUTION, the V7-Leadence isan essential harmonic move intraditional jaz, When soloing over the V7, its fun to increase a dominant-7th chord’ in. herent tension by including altered tones in your lines. This way, the resolution o Ls ever more pronounced. Here are three Ideas fr spleing up the dom inant-7th portion of aV7-Icadence. Wellex- plore these techniques in the key of G using G7(V7) and Conaj? naj) asthe background harmony Once you've mastered each line, be Bat enaiz Fe2 G7at omei7 142 GUITAR PLAYER AUGUST 1909 666b-ccc (008) > we 26 ss ay es sure to transpose it to other keys. To sharpen ‘your picking chops, play these exaraples using all downstrokes, then all upstrokes, nd finally with strict alternate picking ‘Whole-tone spice. In Ex. 1, play adesoend!- ‘ng Gwhole tone sale (G,, B,D, Fb.) against G7. We starton the G73 (B) nd end with a C Aapeggio esolving to Cragj7 root. This whole- tone scale includes three V7 chord tones ftoot, 3, andl) two altered tones (}5.and #5), aod fone extension (2) Half-whole motions. Ex. 2 features a de seending Galtere scale (G, Ab, Bb, Bh, Diy Dt E.P. Notice haw this scale consists of alternating hale and whole-steps. Also called a al-whole scale, the altered sale inchudesall four V7 cord tones 00%, 3, 5, bi) thnee altered tones 5,9, ‘and 49), ané one extension (13) ‘Augmented fretting, Consisting of an as ccending augmented pattern that repeats every whale-step, Ex. 8 uses notes from a G whole- ‘one seal, Strt on Ds—Gi7's}5—and work your ‘ay up the neck using fixed grip, es shown, These examples brelly ake you outsice te ‘key Try generating your own lines from whale tone and altered scales, With litle effort, you ‘ean stich your fingers and ears ” 19g Cooper has studied with Ted Greene, Jimmy Viole, and Phil Upchurch. Cooper per forms and teaches in the San Francisco area,