
SF [14] Kurt Rosenwinkel
Don’t know why that melody sounds familar?
This excerpt of Kurt Rosenwinkel’s improvisation for WBGO Studio Sessions back in 2008 offers a number of takeaways for chord melody playing.
Most of the voicings which are being used are fairly standard “block chords” – a practical choice to harmonize more notes of a given melody. Additionally, also a good way to superimpose additional harmonic movement when there are repeating notes. E.g. harmonizing the same melody note with different functions.
Check out how this concept is applied here:

By using a quartal sonority [ intervallic structure: 4 – 4 – 4] for the Dm7 [ii], the harmony can also function as a G7sus [V] dominant sound. Then, by simply moving the voicing up by a half step an altered sound is unlocked [ b13 / b9 / #11 ].
This yields a nice effect, either going back and forth between the more consonant and dissonant dominant options or to move the harmony forward to its next resolution.

This concept can also be used to create contrary motion within a harmonic movement, with the melody and accompaniment moving in different directions.
More takeaways suggest alternating I, IV & V triads (‘Gospel triads’) or how to create close voice leading:

Based on its standard first inversion voicing, this F chord [ IV / iV ] can wear many hats with just changing one or two notes at a time, resolving towards the tonic.
There’s more to be found in this short excerpt, check it out and cross reference it with a couple of these ideas to come up with your own:

