This study takes a deep dive into improvising over dominant tension in a minor key by alternating between A7 and Dmi7. While D minor functions as the tonic in this context, this A7–Dmi7 pair can also be seen as secondary dominant in the keys of C major, F major, or Bb major.
The A7 chord is treated as an altered dominant, and the scale choices reflect this. The ♯5 and ♭9 fit naturally within the D harmonic minor scale, making them ideal for outlining the A7. To emphasize an altered dominant sound, you can also incorporate the ♭5 and ♯9.
When I create these line studies, I begin by improvising over the changes, then transcribe and notate the lines that emerge. My goal is always to strike a balance between compelling rhythmic phrasing and harmonic clarity.
