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Is there a diagram of all chords with the same melody note on top? with voice leading? with 7th?

Eb G C |  E G C |  E  A C  |
F  A C |  F A D |  F# A D | 
b3 5 1.   3 5 1.   3  6 1.     

When one is playing harmony in the right hand, the melody note must be on top. The exercise(diagram-treble clef notation) requested is to practice all common chords with C on top. Above we have Cm C Am F then we move to Dm with D on top then D triad.

I currently play harmony L hand melody R hand. I would like to play shells in the left hand & harmony R hand. In order to do this from a lead sheet, one must play the melody with the pinky then the rest of the chord with the other fingers RH. I am trying to practice all chords with C on top, all chords F on top, all chords Bb on top or stepwise C D E F# on top.

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    I’m not sure I understand. What are the notes listed here the melody notes? – b3ko Jul 17 '19 at 1:15
  • A diagram of all the chords would be the piano keyboard itself... This question is unclear, because you do not specify the chords you're after (there's a ton), and, given the context, it is not clear what "voice leading" is. You could identify the scale in which the piece is played, and then use an online tool to look up some of the available chords. – Pyromonk Jul 17 '19 at 4:32
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    I think the OP wants something like a regular piano chord diagram listing, but grouped according to the highest note instead of the root note. All triads, sus4 chords, sevenths etc. that have a C note, in an inversion that has the C on top. Dbmaj7: Db-F-Ab-C, Dbmmaj7: Db-E-Ab-C, Dbmaj7sus4: Db-Gb-Ab-C, Dbmaj7-5: Db-F-G-C, ... E7+5/D: D-E-G#-C ... G7sus4/D: D-F-G-C ... F#7-5/E: E-F#-A#-C ... C7sus4/F: F-G-Bb-C ... Fm6/D: D-F-Ab-C ... It's a very long list. There are 11*10=110 three-note combinations with C on top, and 11*10*9=990 four-note combinations with C on top, inside one octave. – piiperi Reinstate Monica Jul 17 '19 at 10:29
  • piiper is the only one who understands. I did develop an exercise: Eb G C, E G C, E A C, F A C to F A D, F# A D – scidoc Jul 19 '19 at 20:40
  • piiper is the only one who understands. I did develop an exercise: Eb G C, E G C, E A C, F A C to F A D, F# A D, F B D, G B D to G B E, G# B E, G# C# E, A C# E. – scidoc Jul 19 '19 at 20:47
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Here's a pattern that hits every basic triad (dim, min, maj, aug) containing the target "top pitch", but doesn't especially concern itself with harmonically functional voice-leading.

X: 1
T: Basic triad pattern
M: 4/4
L: 1/4
K: C
|[_E_GC'][E=GC'][E^GC'][EAC']|[=EGC'][E^GC'][EAC']2|[F_AC']2[F=AC']2|[^FAC']4||[^FA^D'][F^AD'][FBD'][F^BD']| [G_B_E'][G=BE'][GC'E']2|[_A_C'_E']2[A=C'E']2|[=AC'_E']4||[AC'^F']

Presumably there is a similar pattern that would work for seventh chords; however, there would be 65 chords for each different "melody" note.

(Five common seventh chords: dim, half-dim, min, dom, maj
Four of them have three inversions with the top note fixed: half-dim, min, dom, maj
Plus the fully diminished chord, for which all inversions are enharmonically equivalent
Thus, 4^3 + 1 = 65)

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I don't think such an approach would be useful. Voicing and fingering will be very dependent on context. You won't need a block chord under every melody note. As @Pyromonk commented, the best exercise will be lots of sight-reading of printed arrangements and transcriptions in the style you favour. You'll find the harmony notes shared out between the two hands in various, ever-changing ways.

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