Again, on a keyboard I can hit this voicing, 1-7-3 or if you are putting the 7-3 over the bass. If you have got big enough hands, you can on a piano. I can't hit it, if it's a G7 on a piano; it's too much over a stretch. If you can, you have got some advantages available to you; you can really fill up that sound nicely.
Here is the last thing; it's a triad. It's a G major triad. Anytime you see a dominant7, if you go up a whole step and play a G major triad, in this case it's G major because we are on F7. You get a #11 chord. We can play that arpeggio, then arpeggiate that triad, just move the notes around.
Again, where on F dominant7, if you go up that whole step, you can arpeggiate it or if you want, you can start on the thumb. It just depends where you are playing from, where your idea starts from. So that all things to practice, but usually that's where you want your thumb. Go ahead and play with that a little bit more and I am moving linearly. Again, we need to minimize the movement; otherwise, you can't do these things too much faster than I am playing.
One more thing, theoretically, why is it a #11? Well, we've got 1, 3, 5, 7 lines since we are using that in our voicing. This is part in this G major triad. Here is your 3, 7, 9, 11, 13. You've got A and Eb. That's just that basic voicing. You've got the 9 as a G, the 11; it's sharped actually for a B and the 13 is the D.
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