Many of the standard tunes we play consist of 32 bars.
Normally their structure is EITHER 16 bars + 16 bars (with the beginnings of each batch of bars being almost identical) OR 4 sets of eight bars in the form called a-a-b-a, in which all the 'a' sections are nearly identical but the 'b' (the 'Bridge' or 'Middle Eight') provides a contrast.
Taking the first type (16 + 16) you will usually find that the first 16 bars end with two bars (sometimes only one) on the chord of the dominant 7th. For example, in the key of C, this would be the chord G7. The dominant 7th leads beautifully back to the tonic to start the second 16.
Now, when you are improvising over that dominant 7th chord, make sure you highlight the 7th within that chord. You will find this very effective. So, if you are on a G7 chord, the note to highlight is the seventh within that chord - which is F natural.
Let's say the key is C and you have two bars at the end of the first 16 which are based on the G7 chord. Here's how your improvisation might go. Note that I have highlighted the F naturals in green.
As you move into Bar 17, this will slide you neatly on to the C chord.
Now let's take the second type (a-a-b-a). Here, the dominant 7th is likely to come at the end of the 'b' section. It may occupy two bars or - quite often - just one. Assuming you have one bar to play with and that we are again in the key of C, your improvisation could be something on these lines:
Note the lingering on the important F natural before sliding back to the tonic for the final run-through of Section 'a'.
To hear how well this works in practice, listen to the improvisations of great, fluent players - Chloe Feoranzo, for example. Notice how she nudges that 7th when it appears in these positions.
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