This edgy, evocative alternative to a basic Minor Triad works great when used judiciously in certain minor jazz ballads…
A logical and musical next step is to revoice the right hand to put “the 7” on the bottom, an important skill that serves at least two purposes:
- In order to place the notes in a pleasing register (not too low where it can sound muddy and not too high where it can sound thin).
- In order to smoothly connect with neighboring chords by voice-leading (lots more on this is subsequent lessons).
Using your ears and knowledge of scales and chord structure, “transpose” this voicing to all spellings in three musically-useful patterns:
- Chromatically Ascending: C > Db > D > Eb > E > F > Gb > G > Ab > A > Bb > B > C.
- Chromatically Descending: C > B > Bb > A > Ab > G > Gb > F > E > Eb > D > Db > C.
- Cycle of Dominants: C > F > Bb > Eb > Ab > Db > Gb > B > E > A > D > G > C.
Doing so will develop an enormous chord vocabulary that you will know by ear, intellect, eye, and muscle… laying a rock solid foundation for fluent improvisation.