... I call these "consonant" extensions. The 9(2) and 13 (6) are pretty colorations of a dom 7 chord. I use these voicings a lot.

If you offset these voicings by a tritone, you get nice ALT 7 colorations of the same 7 chord.

VIDEO: 6 jazzy dominant 7 chord voicings for 5 string banjo.mp4 (click to view)

This was an extremely useful thing for me. I want to really thank you for posting it. I've been looking for a while for stuff like this and haven't found it until here.

One question as well.You will understand this. What right hand roll (or pattern) do you like to use with these complicated chords???

I was taught this stuff once by a great teacher, and one thing he pointed out is you really need a roll pattern that hits all 5 strings. So the forward roll will not cut it. 

So thats my question for you , what right hand roll pattern do you use for these complicated chords when you play them?

(the pattern I use starts with this slow slide in on the 4th string, then goes 315-315, 5215-1231) 

hey yada ... I wouldn't necessarily recommend 1 particular roll pattern, because these chord types can be used in so many types of music. Even jazzy "4 on the floor" types of strumming can sound great with extended 7 chords (like rhythm guitar players used in Big Bands of the 30's-40's).

but ... I did a video in this series that shows how i play some Latin feels that work great with these voicings ... It's called 3 Latin grooves for 5 string banjo. It's in a thread, or on my home page in the videos section. It shows specific roll patterns for those Latin feels.

Maybe some other guys would like to chime in on roll patterns they use with chord shapes like this.

If something worthwhile pops into my mind I'll reply again ....

VIDEO: 3 latin grooves for 5 string banjo.mp4 (click to view)

I suppose you could use these in a BG context but I'm not sure if you would want to - so I don't think of rolls at all with extended dominant chords. They would sound good strummed or arpeggiated  - i.e. used in soloing a la Django where I would play the arpeggio from bottom to top (pitch) and they sound quite melodic that way, especially if you articulate your phrasing. For chord melody I prefer 3 note voicing, because I only use 3 fingers and for other good reasons.

Nice lesson Doub!

yeah Laurence, def not a bluegrass focused lesson. I DO however slip those voicings in some bluegrass with that syncopated scruggs roll from the "B"part of Groundspeed. I can roll thru a dominant cycle all day long !!! ... :) thanks for posting!