You could just play different voicings and inversions of A7 over this groove all day long and it’ll sound great. This means you can use all of the scale’s triads – D, Em, F#m, G, A, Bm and C#dim – to discover new rhythm patterns to play over A7 that are even more colorful and interesting. For example, Figure 3 demonstrates Em and F#m triads played on the D, G and B strings before moving over to the top three strings. Figure 4 offers an example of utilizing the F#m and Em triads over the funky A7 rhythm part. On beat 3, I include a 2nd-inversion D major triad (D, F#, A), with A, the 5th, on the bottom.