Upper Structure Triads For Jazz Piano
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- Опубликовано: 29 июн 2024
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What Are Upper Structure Triads?
Welcome to this tutorial on upper structure triads. Upper structure triads are complex altered dominant chord voicings that are widely used in solo jazz piano performance.
Why "Upper Structure" Triad
You may be wondering why is this type of voicing is called an upper structure triad? Well that’s because there are 2 parts to the chord, the upper structure and the lower structure.
The Lower Structure
The lower structure is the vanilla dominant chord voicing, so for C7, we could play root, 3rd and b7, and if you have a wide stretch we can play those notes like this, we could play just the root and b7, we could play just the 3rd and 7th, and we can also invert that 3rd and 7th. Each of these creates a different LH texture.
The Upper Structure
So what about the upper structure? Well the upper structure is played in our right hand, and the cool thing about these voicings is that we only need to use major triads to construct the 4 most useful and versatile upper structure triads. We must be comfortable with the major triads in all 12 keys & also the inversions.
Why Split The Chord Into 2 Parts?
That’s a very good question! The answer is that it gives us simple formulas to memorise complex altered dominant chord voicings. For example if we want to play a C13#11 chord, we just think D major triad over C7 and with practice that process becomes very quick to visualise until it is an almost subconscious process.
The other key benefit is that by visualising the upper and lower structure as 2 separate entities, we can easily maneuverer and manipulate the shapes in each hand to create many different textures using the same chord colour.
The 4 Common Upper Structures
Download the upper structure cheat sheet which contains the 4 most useful upper structure formulas.
The first is US2 which is a major triad built from the 2 or 9. This gives us a 13#11 sound, as our right hand is outlining the scale degrees 9, #11, and 13.
#UpperStructure #JazzPiano
Next we have US#4 or #11 which is a major triad built from the #11. This gives us a b9/#11, as our right hand triad outlines #11, b7, and b9.
Next we have US#5 which is a major triad built off the #5. This gives us a #5#9 sound, also known as alt. The triad contains the #5, root & #9 and it has a very tense sound.
Finally we have US6 or 13 which is a major triad built of the 6 or 13. This gives u a 13b9 sound. Our right hand contains the tones 13, b9, and 3.
So that’s the 4 most common upper structures. In our altered harmony course you can find practice drills and exercises to
Let’s now finish by applying these voicings to 3 jazz standards and use the upper structure cheat sheet as an aid to help us find suitable upper structure voicings for dominant chords in our favourite tunes. 
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this was probably the most useful jazz piano content I've seen so far
Me too.
Yeah, I agree
I agree
I agree
Yeah
Finally, someone explains advanced concepts to advanced musicians without wasting time explaining what a scale or chord, or progression is. SUBSCRIBED!
The most focused and transparent explanation of this approach - and very musically
if there would be a Jazz tutorial Nobel Prize you would deserve it!
This was such a useful lesson. I will watch. Over and over and play along until I can match it up along with the sheet music
loving this tutorial!! ive always wanted to learn upper structures to sort of imitate bill evans's style and your tutorial was simple and organised enough and super easy to understand
This video is mind-blowing for horn players. It shows the structure of the sounds many of us are looking for. In this respect, a pianist's perspective is far better than any studies for single-note instruments. It sounds great, too! It will take a long long time to absorb and internalize, but it will be worth it. Thank you. I signed up.
Thanks for this very nice video! Please make more tutorials on chord voicings for common jazz standards!
Complicated simplified. Yet the harmony is transformed from the simple vanilla to rich, complex chords. Inversely proportional mutation just got seamlessly better 👍Tòns of thanks!
I adore it!! Very useful, and well explained
Insightful and very clear explanation!!! I love it.
Thank you so much ! I have been struggling with these topics. So well explained with perfect pace for me
This is the most detailed and thorough lesson I have ever come across on RUclips.. Thank you so much!!!!
loved it, thanks for the simple and clean explanation.
Just awesome music........I learned so much.......pure brilliance.
Its fantastic. and the chart has helped a lot!!!
Mind altering information. Truly valuable insights. Thank you.
Thank you for the video and information you share with us! It's absolutely amazing! Greetings from Peru 🇵🇪 😃 I hope you're keeping well!
amazed by the quality that you give !! this is a reel must have ! thanks so much !
Thank you so much! Such a clwar and informative explanation! Wish I had such a teacher a couple of decades ago!...
This is a great lesson. Makes so much sense. Thank you
This is a helpful lesson; thanks for the clear explanation, the best I have found on this topic.
In fact one of the best tutorials for Jazz Piano Voicings
damn, an actually good online educational resource for jazz. amazing!
One of my favorite and excellent YT JAZZ music sites! ❤️
Piano lesson of the year
Very cool sound for this modern world. Thanks.
Best explanation of upper structure triads. Thanks.
Really enjoyed this very clear an concise, thanks
Very informative! Loved the Upper Structure Chart
Misty with upper structure approach is beautiful
Indeed! Try applying these voicings to other jazz standards and you will hear they sound fantastic. Cheers! PianoGroove
Best tutorial ever.. thank you!
Thanks for this.. I thought you left RUclips
Very instructive tutorial. Many thanks
Very nice, you are such a gifted teacher
“infamous” Autumn Leaves? Infamous means disreputable. Great lesson. It’s easy to remember which upper structures to apply: major triads with roots taken from the 9 of the dominant chord you’re voicing plus the one with a root on the flat 13.
So, in C7. Take triads with roots on D, F#, A plus the Ab
Best video on this topic. Thank you!
This is GREAT !!! I’m so thankfull !
☺️
🙏
Gracias por la enseñanza!! Saludos desde México 🇲🇽
A good to get away from just using "vanilla chords". Thank you David🎹🎼🎹🎼🎹
There is a small mistake in the written transcription. The C13(b9) should have a Db on top instead of a Cb
And an A natural, not Ab at 1.06
Yeah u gotta fix this man. Tutorial vids need to be reviewed myriad times for perfection. They have to be 100%. Always.
I noticed that mistake, too.
I thought I was going crazy! Not a small mistake
@@Ernie_Centofanti SO DID I!!1 THATS how bright i am lol lol lol LOL1
Thank you so very much!! It's really helpful👍🎶🎶
Too beautiful for words.........
Very useful thanks so much
Great knowledge. Thank you sir
Amazing video and content - informative and inspiring 💎⭐️😊
that's a fantastic video !! Thanks a lot
Thank you for the insight of wisdom
Muchas gracias, muy buen material para estudiar.
I have learn a lot! Txs
Some nagging questions I've had for (checking watch) 60 years about what makes jazz sounds work were answered by this video. That's an itch that's been waiting to be scratched forever. Resolved: I need to work on all inversions of all major triads.
I m from a little town from mexico. Very very very good thank so much
Really awesome, thanks !!
Fantastic great explanation
I would listen to these beautiful lessons and arrangements even If I didn't play piano.
Nice tutorial ❤️❤️❤️
Not a C13b9, the third one….for that to be the case you would need an A natural (13) and a C# (Db-b9). You have an Ab (G#) which is a #5th and a B maj which is a major 7th, as you already have a Bb to make the C a 7th chord, to avoid confusion with the two different B intervals I would call this a ‘slash’ chord C7/E.
Awesome! By the way, I also want to include Jimi Hendrix chord in the UST category.
For example, C7(#9) =E♭/C7
Wow you are the best!!!! Thaks
Great lesson
fantastic stuff
Thank you
Gorgeous
Very nice
Awesome vid👍🏼
Excellent!
Thank you so much sir I like your videos
Wow you are a blessing
you are good sir...thanks
You are a godsend.
Thanks so much!!!
This is great
Спасибо за очень полезную информацию
Hi Hayden....
I very like your lessons. Are Very comprehensive.
Hugs..
Thanks Pedro!
@@PianoGroove I Always see your classes.
Cool chords.
Gracias maestro
thank you
Hi Chaps, brilliant video, pls do more about applying this info to standards, tho note earlier comment about typos re C13b9
I like You super explanation, also saund is very good
At 1.06 there is an error on pentagramm
The correct notes are on the piano but not on the C13b9
Best 2 5 1 ihad see so far 👍
Thank you teacher you have the tutorial in this Chanel I don't find the partiture
Great....
I like your lessons. Do an of your lessons deal with improvisation?
Do you have a video discussing chord textures and how to create them?
Very Vey Good
Excellent video 👍 Question; do you know who invented jazz upper structures, or who was the first to use them? Were they played as early as Duke Ellington or Bud Powell? I seem to recall only first hearing these voicings played by Bill Evans. (Asking for my students who always ask this question). Thanks
Fantastic! congratulations!
What is the name of the program you use to show the keyboard on the key, with musical notes ?? Thank you! hugs!
AWESOME!1111111111111
Fantastica spiegazione molto più chiara di tante altre presenti nel web; purtroppo non è facile per me seguire dai sottotitoli in italiano ma vorrei tanto chiedere gentilmente se è possibile seguire una lezione come questa relativamente alle upper structures applicabili anche agli accordi maggiori e minori all'interno di un turn around tipo 1 6 2 5 1. Grazie infinite e complimenti.
Wow! Great lesson!!! Thank you!🎼🍾
Thank you for the excellent tutorial. I think you have staff notation errors for the C13(b9) chord in the first frame around 0:30 and the second frame around 1:00. I see later that sometimes it is spelled with C3 to emphasize the “major triad” and sometimes with Dd for the flat 9. Are both generally used?
Amen.
At 1.51 you played a different chord to that which was shown. C with flattened 9 which was played but not shown. Otherwise very interesting indeed. Than you
thanks!! are there also upper structure to minor chords?
Correction on C713b9 the Note Cb should be a Db in treble clef RH
Is there another video that goes over how you come up with all those top line melodies around the 2 5 1?
Thanks for a great video!! Wondering... if the melody is on the fifth note in the chord, what’s your suggestion of voicing? Can’t find a nice one from this template, or should I go on and 7 and 9 to the upper chords to find my way back to the melody? (Is a little bit lost haha)
I thought about this also, but I got to think as long as the fifth belongs to the chord, you have to choose upper structure that will sound good and put the fifth note above it, with some little tricks.
Hi Erik 👋🏻
Good question!
An important point to understand is that we don't have to use an upper structure triad for every dominant chord. In fact, if we did this for every dominant chord our playing might start to sound a little predictable and repetitive.
Variety is key in the voicings we choose. Sometimes just the root, 3rd, and 7th of the chord can sound great. Sometimes just an unaltered voicing will sound more appropriate for example the 5th in the melody and the unaltered 9th below.
Halfway between and unaltered voicing and an upper structure voicing could be to play the 5th in the melody and a single alteration underneath such as the b9. This can create an interesting altered flavour in a more subtle manner than a full upper structure.
A final option would be to alter the melody note or rephrase the melody so that we can apply upper structures containing other chord tones. Just some ideas! :--)
Ultimately, once we have a knowledge and appreciation for the sound of each option we can then make more informed decisions on the type of voicing to play. The options are:
- simple chord tones R-3-7
- extended dominant voicing with 9th/13th
- single or double note alterations using b9/#9/#11/#5
- full upper structure voicings
You can check out our chord voicing syllabus for more information - www.pianogroove.com/syllabuses/chord-voicings/
Hope this helps and enjoy playing around with this stuff!
Cheers
PianoGroove
I finally have a great teacher this month and you brother, are so cool... I tried this in my phone and I feel that next time I sit down on the piano, things are going to change.
Thank you very much
Thanks a lot! That’s how I play it right now also! Thanks for great input! Wish you a lovely summer!!
Man, thanks a lot! You showed how to open doors, thanks again...
Thanks! So I'm reading chega de saudade (No more Blues) from the real book-- the head reads D- D-7/C E7/B E..... Can I use an upper structure chord based on E on the E7/B? Thanks for the input!