Play these voicings with and without the supporting 7th/3rd. Also, the left-hand 10th interval in the first two measures is quite a stretch for some players, so you can try omitting the 3rd (B) othe root (G). Depending on the upper triad inversion, the 3rd can be added using the thumb of the right hand, with the upper structure triad being played with the remaining fingers, We can analyze the upper triad voicings in the above example as follows: + Inthe first measure, we are building a major triad from the flatted 5th (equivalent to the sharped 11th) of the overall dominant chord (D?/G7). Together with the 7th and 3rd added in the left hand, this creates a dominant 7th chord with flatted Sth and flatted 9th. * Inthe second measure, we are building a major triad from the sharped Sth (equivalent to the flatted 13th) of the overall dominant chord (E?/G7). Together with the 7th and 3rd added in the left hand, this creates a dominant 7th chord with sharped Sth and sharped 9th. + Inthe third measure, we are building a minor triad from the flatted 9th of the overall dominant chord (AbmvG7). Together with the 7th added in the left hand, this creates a dominant 7th chord with sharped Sth and flatted 9th, * Inthe fourth measure, we are building a major triad from the 13th of the overall dominant chord (E/G7). Together with the 7th added in the left hand, this creates a dominant 13th chord with flatted ‘9th chord. (For much more information on dominant chord alterations, voicings, and scale source implications, check out my Contemporary Music Theory, Level Three book, published by Hal Leonard Corporation.) Now we'll look at a couple of contemporary jazz chord progressions, using a mix of different triad-over- root voicings. First up is a progression in the key of D major, which also borrows some chords available within the D natural minor scale: Q TRACK: Daj maj? Bhai? cu vant Dmaj7 Bm? Fmaj? All 18 In contemporary jazz. as well as more sophisticated pop/R&B, itis typical to combine diatonic chords from a major scale with other chords occurring within the natural minor scale built from the same tonic (in this case, combining chords available withn the D major and D natural minor scales). In the above example, the Dmaj7, Gmaj7, Bm7 and Al chords belong to the D major scale, and the B’maj7, C1, and Fmaj7 chords come from the D natural minor scale (also equivalent to an F major scale. (For more information on this “major-minor mix” approach to chord progressions, check out my Contemporary Music Theory, Level Two book, also published by Hal Leonard Corporation.)