Here’s another simple approach to constructing a modern, angular sounding line, while at the same time sounding well within the harmonic colors of the dominant 7th chord, and how it resolves to tonic. Take a look at the example above.
I’m using four different triads over the G7 chord, but am altering each triad slightly by adding a chromatic passing tone at the end of each one. In the first measure I’m starting with an F major triad, adding a Bb to connect it chromatically to the next triad, a G major. As you can see, I invert the G major chord to create a more wide-angled melodic contour. At the end of this triad I add an F# as a passing tone to connect it to the Eb major triad in the next measure. I place an Ab at the end of the Eb major triad to connect it to the G augmented triad that follows. At the end of the G augmented triad (in which I use a similar inversion/shape as the G major triad in the first measure), I add a Db to connect it chromatically to the root (C) of the C major chord. I then continue the line over the tonic chord with a few more wide interval shapes and inversions.
I refer to adding a passing tone (chromatic or diatonic) at the end of a triad as creating a “four-note triad cell”. In the example above, the “passing tones”could also be thought of as other color tones of a four-note chord (e.g., adding an F# at the end of the G major triad in the first measure technically creates an inversion of a G Maj7 chord. But I don’t think of the chord this way, as the F# moves in such a way as to function sonically as a passing tone.)
If you’d like to explore more with four-note triad cells, please consider my e-book, Four-Note Diatonic Triad Cells. If you’d like to get a comprehensive overview of creating triad pairs and applying them over dominant chords, please consider my e-book, Encyclopedia Of Triad Pairs. For a free, downloadable pdf of this etude, please click the link below:
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