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Home → All Courses → Arts and Humanities Courses → Jazz Performance and Theory Certification → Flashcard

Detail the use of upper structure triads and their impact on creating complex chord voicings in jazz harmony.



Upper structure triads are a crucial tool in jazz harmony, providing a means to create complex and colorful chord voicings. They involve adding a triad built from a different scale or mode on top of a pre-existing chord, typically a seventh chord. This technique goes beyond basic chord extensions and adds a layer of sophistication, enabling jazz musicians to create rich and nuanced sounds. The impact of these triads is significant, adding new melodic possibilities, harmonic colors, and increased dissonance, which is typical of modern jazz.

The concept of upper structure triads is based on the idea that a seventh chord can have a triad added to it that's not directly from the original key. For example, a G7 chord would normally have extensions such as 9, 11 and 13, which are all derived from the G mixolydian scale (G A B C D E F). An upper structure triad, in contrast, is borrowed from a related scale and stacked on top of this G7 chord. The idea is to add a triad that adds new color and tension.

Here are some specific examples to illustrate the use and impact of upper structure triads:

1. G7 with a B major triad (B-D#-F#): A G7 chord already includes the notes G-B-D-F. Stacking a B major triad on top would add B-D#-F#, resulting in a voicing of G7(b9,#9,13). In this case, the B major triad is built on the third of the original G7 chord, and it gives the G7 chord an altered sound, including both a flat nine and a sharp nine, creating a very dissonant but effective harmonic color and a rich, almost dissonant sound. The resulting sound is not found in any single scale, allowing for harmonic creativity, color, and uniqueness. This altered dominant chord with upper structure triads adds a sense of urgency and complexity, making the resolution to the tonic chord more impactful. It's a great technique to use when creating tension and then releasing it with a smooth resolution.

2. Cmaj7 with a D major triad (D-F#-A): A Cmaj7 chord contains the notes C-E-G-B. Adding a D major triad results in a Cmaj7(9, #11, 13) chord voicing that uses the notes C-E-G-B-D-F#-A. The D major triad adds a 9th, a #11, and 13th to the chord. The #11 (F#) is the distinctive note of the Lydian mode, which is related to major. This adds a bright and ethereal quality to the C major chord. This complex voicing gives a fresh approach to a very common chord in jazz music. This can add a touch of surprise to the otherwise typical sound of a major 7th chord. The use of the upper structure triad is a way to take common chords and create new sounds and flavors to them.

3. Dm7 with an F major triad (F-A-C): A Dm7 chord has the notes D-F-A-C. Adding the notes F-A-C from the F major triad on top results in Dm11. The chord voicing would then be D-F-A-C-F-A-C. Note that only three notes from the triad (F-A-C) are actually used since we already have those notes in the Dm7 chord. By using the F major triad we are essentially adding the 11th of a Dm7 chord, resulting in a more open sound. The 11th (G) is the natural note in the D dorian scale. Upper structure triads can sometimes just be a voicing of the basic chord extensions. This is helpful in situations where you need to expand the sound of the chord and give it more color. This is great for creating a more airy or open texture.

The key to using upper structure triads effectively is to ensure they add the right color to a chord, in order to enhance the melodic line. The triad must be compatible with the other notes within the base chord. A chord with a strong, consonant, bright, or even dissonant sound, or a chord that has a feeling of calmness. These are different aspects to take into account. Using an upper structure triad can bring variety, depth, color and new sound to the most basic chord progressions. The different combinations of chords will create a new and modern sound for the jazz musician. The use of these triads opens up a multitude of possibilities for improvisers and composers. It is an essential tool for creating modern jazz harmonies that are complex and colorful.