Voicings on cadences
Probably the most beautiful kind of voicings and the toughest to play so far since the objective is to highlight a melody on chords that change following a cadence.
The best to start with in my opinion is to work voicings on the ii-V-I, IV-V-I and iii-vi-ii-V-I cadences. Here are a few (that resolve in CM7).
Two IV-V-I examples
(that can also be played over ii-V-I)
A iii-VI-ii-V-I example
Actually, as I meentioned it at the beginning of the page, there are many ways to create variations on this kind of cadences. You should explore, listen how the others do, and explore more...
The way I think about voicings in practice is depicted in the following diagram. You can take any of the type ii chords, then any of the type V chords, and finally any of the type I chords in the following list. You can even choose several different chords from any type during each measure of the ii-V-I. The ideal remains to hear each one of those chords before playing it. Here the ii-V-I is in E.