The most common alterations you’ll find on the ii-V-I progression will be over the Dominant (V7) chord. With only slight alterations to the rootless 4-note voicings previously posted, we can cover a number of common Altered Dominants, including V7(b9, 13), V7(9, b13), and V7(b9b13). Maybe in a later post I’ll address some improvisation options over these various alterations, but for the time being, start to experiment by substituting these alterations into your major ii-V-I’s. Check out both inversions of each alteration – the voicings sound a little different with the altered note on the top of the voicing or with the altered voice in the middle of the voicing. And you can use the Drop-2 technique to quickly and easily turn these into two-handed voicings.
Below is a transcription of Jimmy Smith’s 13-chorus organ solo on the Charlie Parker F blues tune “Au Privave”. As played on the 1958 Jimmy Smith album “House Party.” Solo starts about 0:44 into the track. There is hardly a 3rd that is un-grace noted. Super funky.
Below is a transcription of Woody Shaw’s trumpet solo on “There Will Never Be Another You” from the 1986 album “Solid”. The transcription below is in concert pitch but there is also a Bb version on Scribd.