Upper Structure Major Triads
[email protected] As we've seen briefly in Rock & Pop Devices, basic triads - when placed over non-chord tones - can create sophisticated harmonic/modal implications while retaining a sense of simplicity. Here's a roster of upper structure chords (major, minor and 7th) with their harmonic/modal implications in relation to the bass note and - where appropriate - the triad. The implications depend very much on context, remember it is how these devices are heard - not dispassionately analysed - that is important. These devices are used in a wide range of music from Stevie to Stravinsky and the best way to learn them is to identify them in music of others and use them in your own writing. These are termed variously as upper structure triads, slash or hybrid chords. Basic inversions are included from completeness.
{
C
w & w w ? w
C (R, 3, 5) C Ionian
Alternative spelling: Intervals from root: Modal implication:
{
D/C
w
w
w bbw w
Dbmaj7 3rd inv. (b9, 4, b6) C Phrygian
#w w w
D7 3rd inversion / Cmaj13(#11) (9, #4, 6) C Lydian
E¨/C
E/C
F/C
? w
w
w
bw w b & w
Alternative spelling: Cm7 / Eb6 3rd inv. Intervals from root: (b3, 5, b7) Modal implication: C Aeolian etc.
{
Alternative spelling: Intervals from root: Modal implication:
{
D¨/C
#w w w
Cmaj7#5 (3, #5, 7) C Lydian #5
w w w
F 2nd inv. Csus6 (R, 4, 6) C Ionian
G¨/C
G/C
A¨/C
& bbbw w w
w w w
w bbw w
? w
C7alt (b9, b5, b7) C Altered
w
C maj9 (no 3rd) (9, 5, 7) C Ionian / Lydian
w
Ab 1st inv. Cm(b6) (R, b3, b6) C Aeolian etc.
A/C
B¨/C
B/C
w & #w w
bw w w
#w #w w
w
w
? w
Alternative spelling: C6(b9) / A7#9 4th inv. Intervals from root: (b9, 3, 6) Modal implication: C Major b9
Csus9 (9, 4, b7) C Mixolydian ©2011 Milton Mermikides
Cm(maj7(#11)) Ab7(#9) no root (b3, #11, 7) C Melodic Minor (#11) or Double Harmonic Minor
Upper Structure Minor Triads
2
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{
Here is a list of the implications of every minor triad over a fixed root. C‹
D¨‹/C
bbbw w w
bw & w w ? w
{
bbbw w & w
Alternative spelling: Cm7(b5) / Ebm6 3rd inv. Intervals from root: (b3, b5, b7) Modal implication: C Locrian
Alternative spelling: Intervals from root: Modal implication:
F©‹/C
{
C6(b9/b5) (b9, b5, 6) C half/whole diminished A‹/C
w & w w ? w
Alternative spelling: C6 / Am 1st inv. Intervals from root: (R, 3, 6) Modal implication: C Ionian etc.
Dm7 3rd inv. Csus(69) (9, 4, 6) C Ionian / Mixolydian
E‹/C
F‹/C
w
w
w w w
? w
{
w
Dbm(maj7) 3rd inv. C(b6/b9) (b9, 3, b6) C Phrygian Dominant
E¨‹/C
& #w #w w ? w
w w w
w
Cm (R, b3, 5) C Aeolian etc.
Alternative spelling: Intervals from root: Modal implication:
D‹/C
bw w w
Cmaj7 (3, 5, 7) C Ionian / Lydian
F 2nd inv. / Csus(b6) (R, 4, b6) C Aeolian etc
G‹/C
A¨‹/C
bw w w
bbbw w w
w
C9 (no 3rd) (9, 5, b7) C Mixolydian / Aeolian etc.
w
Ab(#9) 4th inv. Cm(maj7)(b6) (b3, b6, 7) C Harmonic Minor
B¨‹/C
B‹/C
bbw w w
w #w w
w
w
Csusb9 C(maj9(#11)) no 3rd (b9, 4, b7) (9, #11, 7) C Mixolydian(b9) C Lydian C Phrygian/ Phrygian Dominant ©2011 Milton Mermikides
Upper Structure 7th Chords
3
[email protected] There are dozens of possible seventh chords over non-chord tones, but here are some very effective, and often used examples
{
E¨Œ„Š7/C
E‹7/C
w & bbw w w
Alternative spelling: Intervals from root: Modal implication:
{
? w
Cm9 (b3, 5, b7, 9) C Aeolian etc.
G¨7/C
Alternative spelling: Csus(9/13) Intervals from root: (4, 6, b7, 9) Modal implication: C Mixolydian
w
w
Cmaj9 (9, 3, 5, 7) C Ionian / Lydian
GŒ„Š7/C
w bbw w w
B¨7/C
bw w bw w Csus(9/b13) (4, b6, b7, 9) C Mixolydian b13
#w w w w
w
Csus9 (4, 5, b7, 9) C Mixolydian
w
C9 (9, 3, 5, b7) C Mixolydian
G‹7(b5)/C
w
Alternative spelling: C7alt Intervals from root: (3, b5, b7, b9) Modal implication: C Altered
{
bw w w w
w bw w w
? w
& w w bw w ? w
w w w w
G‹7/C
bw w & bbbw w
B¨Œ„Š7/C
E‹7(b5)/C
Csus(b9) (4, 5, b7, b9) C Mixolydian (b9) C Phrygian C Phrygian Dominant
B¨‹(Œ„Š7)/C
B7/C
w w bb w w
w ##w w w
w
Csus(b9/13) (4, 6, b7, 9) C Mixolydian b9
Enjoy.
©2011 Milton Mermikides
w
w
Cmaj9(#11) no 3rd (#4, 5, 7, 9) C Lydian
Cdim7(addmaj7)/ B7(b9) 4th inv. (b3, b5, 6(bb7), 7) C Whole/Half Diminished
