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Upper Structures

The document discusses upper structures in jazz harmony, which are triads combined with other notes to create interesting chord voicings. It provides examples of how to voice different types of 7th chords using upper structures, such as C7#11, C7b9, and half-diminished chords. Memorization tricks are also presented, such as playing a major triad a tone above the root for a #11 chord or a minor triad a tone below for a half-diminished chord.

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2K views2 pages

Upper Structures

The document discusses upper structures in jazz harmony, which are triads combined with other notes to create interesting chord voicings. It provides examples of how to voice different types of 7th chords using upper structures, such as C7#11, C7b9, and half-diminished chords. Memorization tricks are also presented, such as playing a major triad a tone above the root for a #11 chord or a minor triad a tone below for a half-diminished chord.

Uploaded by

bobbirch73
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Upper Structures

Piano

In Jazz harmony triads are not often played as the standard voicing for a chord.
However, when triads are combined with other notes they can be used to find
interesting voicings that are easier to find....

C7(#11)

Pno.

C7[]

C7(#11)

C7[]

C7(b9)

C7[]

bVI = AbMaj Triad

C7(b9)

The C7b9 chord can easily be found by playing the triad on the VI degree
of the scaled over the 3rd 7th tritone

C7[]

Tone Up = DMaj Triad

C7[]

The C7#9b13 chord is often simply written C7alt.


This can easily be found by playing a bVI triad over the 3rd 7th tritone

C7(b9)

C7(#11)

The C7#11 chord (Lydian Dominant) has a distinctive sound because of the raised 11th.
It is easily found by playing the Major triad one tone above the Root chord.
The Triad or the Tritone can be inverted.

14

C7(b9)

Un UPPER STRUCTURE can be defined as a TRIAD superimposed on a TRITONE.


(A tritone is made up of three tones e.g. E-Bb).
Upper structures referes to a simple technique of combining a
Major or Minor triad with the 3rd and 7th of a Dominant 7th chord

11

Pno.

C7[]

C7[]

Pno.

C7(#11)

Pno.

VI = AMaj Triad

The C7b9#11 chord can easily be found by playing the MINOR triad on the #IV degree
of the scaled over the 3rd 7th tritone

#IVm= F#m Triad

Half-Diminished Chords...

17

Pno.

US II
= E triad
--------------3rd & 7th D

D7#11

Pno.

US V
= E triad
--------------6th & 3rd Am

Am6

C7(b5)

C6

Tricks to remember Minor 6...?


LH plays min3rd and 6th (or m3 and 6th)
RH plays Maj Triad Perf. 5th above
e.g.
G6

...or F7#11
...or B7Alt
...or Am7b5

US b7
= E triad
---------------Root & b5 F#

F#m7b5

B7(b5)

This also works for Upper Structures..


i.e. a voicing for D7#11 (US II)
is the same as AbAlt (US bVI)
is the same as F#mb5
...can also be used for Am6

Tricks to remember half-diminished...?


LH plays Root & b5 (or b5 and Root)
RH plays Maj Triad one Tone lower
e.g.

26

US bVI
= E triad
--------------7th & 3rd Ab

Ab7Alt

23 E7(b5)

Pno.

Remember Melodic Minor Harmony??


The 'Bill Evans' Left Hand Voicing for
Am6 is the same as:
AbAlt
D7#11
F#mb5

19

Pno.

...or C7#11
...or F#7Alt
...or Em7b5

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