the voicings with the 3rd & 7th on the bottom are the voicings that are the most evident when you begin with this kind of things. But first, how do you chose the notes above this guide-tones for a VI-7, for a III-7, a II-7 etc ? And with this you've got too few voicings to make interesting voice leading on any tonal standard. Second, I wanted to ask you about the other voicings (with note(s) between the 3rd & 7th, or below, or with the 3rd and no 7th, or with the 7th and no 3rd, or without any of this 2 notes...). I think of a youtube video where Kurt speaks of the way he plays voicings. He plays Body & Soul and give an exemple of his stock voicings on an Eb-7 chord. I have to say I know the way Mick Goodrick, or Ben Monder explored the possible 4 note voicings on a given scale, and Brett Willmott's book too.
Lets take an exemple. The first chord of ATTYA, F-7 (VI-7).
So first, you've got the 3rd on the bottom, then the 7th, then the root, then the 5th.
From the lowest note to the highest :
b3, b7, R, 5
It's just a F-7, Drop2 (D2), 1rst inversion. It's a 7th chord.
Then I can replace the 5th with the 11th :
b3, b7, R, 4
It's a Bb7sus4, (D2), last inversion. It's a 4-part 4th (4P4) chord.
Then I can replace the root with the 9th :
b3, b7, 9, 5
It's an AbMaj7, (D2), Root position. 7th chord
Then I can replace the root with the 9th and the 5th with the 11th :
b3, b7, 9, 4
It's an AbMaj7sus2=AbMaj9no3=Ebadd4=Eb/Ab, (D2), 1rst inversion (for Ab...) . TBI
In close position (4 way close voicing (4WC)), you've got this interesting one : b3, 4, b7, 9.
And you've got the other inversions of each of this voicings, and some close positions, when possible. Then Drop 3 etc.
How do you relate to this chords, how do you find them on the neck (for ex., do you think AbMaj7 for an F-9 or do you think "a Maj7 chord a b3 above F", or do you see on the neck b3, b7, 9, 5 and the other inversions - 5, 9, b3, b7 ; b7, b3, 5, 9 ; and the more dissonant for the b9 interval 9, 5, b7, b3 - or anything else ?) when you are working a standard ?
And how do you consider an inversion is valuable ?
Then, for the F-7, you can have :
b3, 5, b7, 4 and the inversions 4, b7, b3, 5 ; 5, b3, 4, b7 ; b7, 4, 5, b3.
This is an Abadd9=Ab/Bb=C-7#5=C-7addb6no5 (a C-7 with the 5th replaced with the b6), (D2), TBNII.
In close position you've got 4, 5, b7, b3 ; 5, b7, b3, 4 and b7, b3, 4, 5.
you can play a simple F-add9 (no 7th in this voicing)
you can play a simple F-7sus4 (no 3rd)
you can play F-9no5 (that's a Spread Cluster), AbMaj9no5, C-7, C-7sus4...
But do you use the b13 as a valuable extension ? the 13 ?
On a III-7, do you use a b9, a b13, a 9, a 13 ?
When you don't have one or the two guide-tone in your voicing, are there any combination you avoid, or some notes you avoid ?