I’ve looked at a video about this on You Tube, and have my own take on what will help the soloist invent a good solo over many measures of G7, like in a Latin tune.
We will assume we are in C Major not C minor. In this case the scale of the G7 chord is G, A, B, C, D, F, G. – the C Major scale beginning on the 5th note of the C scale. The G7 chord being the V or V7 chord of C Major. The chord tones are G, B, D, F and usually emphasized “on” the beat. In order to provide more interest and notes to play, we can think of the “two” chord Dm7 in conjunction with the “five” chord in our improvisation. This is a natural progression, as the two – five – one progression is found very often in jazz music.
So now we have the Dm7 – G7 chords to use rather that just the G7 chord notes. Another tonal area to explore and use can be the Am7 chord which is the “two” chord of G. Playing notes from the Am triad to the Dm triad to the G chord gives us more to work with. Combining all these notes in an interesting sequence is what we seek. As example try; C, B, G, A , F, D, C, B, C, A, F, G.
Of course over a long “Montuna” like passage, we can bring in all sorts of other elements to make the music exciting ( if we want ). Even if the G7 chord is not going to resolve to C Major or Cminor, ( and stay in GMajor ) we can introduce these elements as if we were going there, but don’t!
As example lets use G13b9. This brings in a scale such as G, Ab, Bb, B, Db, D, E, F, G There are many new triads here and various melodic fragments we can invent. Some would call this scale the symetrical scale since it has a layout of half-step whole step throughout. All of the notes are chord tones! ( root, b9, +9, third, +11, 5th, 13th, b7, root. Coltrane arpeggio G,F,Bb,Ab,E,D,G,F,Db,B,E,D,Bb,Ab,G. Other arrangements of the notes descending E,F,E,B,Ab,F,E,D – outlining the 13th -E in this case. Outlining the flat ninth/plus ninth area G, Ab,Bb,Ab,E,D,G,F,Db,B,E,D,Bb,Ab,G. How about the triads – G,B,D,B – Bb,D,F,D Db,Ab,F,Db – Ab,Eb,C,Ab G.
Many will use chromatic half-steps as an approach to some of the notes from below the note. This technique should be used sparingly as it destroys the harmonic scheme you have set up and sounds too much like dixieland!
More to follow – – –