Example7 UPPER STRUCTURE TRIADS FOR DOMINANT CHORDS
As stated previously the V7-I relationship is the strongest cadence in functional tonal harmony. Since there is such an expectation that the V7 chord will resolve, it can tolerate all sorts of dissonance before resolving (so long as it can still be heard as a dominant 7 chord). In fact, the essence of a dominant 7 chord is the major 3rd and minor 7th. (B and F in a G7 chord). So long as a major 7th (F#) and to a lesser extent a 4th (C) is avoided, any other note can be added. This means that a number of triads can be superimposed in a dominant context to create tension while maintaining its function. Here are some examples below (all common harmonically and in melodic improvisation in jazz). The bracketed chords show the chord name if slash chords weren’t used.