to our upper
What these are,
it's a really simple way of getting
a couple of our extensions
on any kind chord actually.
Because there's an upper structured triad,
a couple for a major seven chord [SOUND],
that's a particularly nice one.
There's a couple available
on a minor chord [SOUND].
Those are both great.
Right now, we're concerning
ourselves with dominant chords.
And we've touched on this one before,
as a melodic device.
Here's our root here's our third,
here's our flat seven.
The first upper structure triad,
is the most common one, because as I say,
it incorporates two very compatible,
and very common altered tensions.
There's the first one, the sharp nine.
There's the other one, the flat 13.
And if we add the root, we have an A Flat
triad, in, what, the second inversion.
You can play it in any inversion.
You can play it like this.
Nest it on in there.
You can even do this,
This is kind of getting into
Herbie harmony world where you've
got this nice dense texture that's
nested one on top of the other.
For now, let's play it in its most open,
like this, but let's look at it, we're
gonna play it on the cycle of fifths, and
we're gonna take a look at each one and
there's gonna come a point at which
we're getting too high or too low at it.
And I'll show you how we're
gonna revoice it at that point.
Here it is, C7 altered [SOUND].
To me, I wouldn't hesitate to comp there.
But what happens is we've already got
our guide tones going on down here.
And we could [SOUND] do this.
Let's put the guide tones,
put the seventh below the third,
and put the upper structure
triad always built in
this case on the flat six of the scale,
Now we have a more compact thing, that's
sitting down in a richer register and
it's more likely to be below the soloist.
[SOUND] So there's our F seven one,
F seven altered.
Here we are with our B Flat.
[SOUND] Hard to beat that,
in that register.
That's a G Flat triad over B Flat,
just think down a major third,
there's your triad, you're in business.
I want to point this out though, too.
Same exact chord, [SOUND],
over a different bass note.
Bass note a tri tone away.
And you're getting kind of
almost the opposite chord.
This is a Lydian sound
with a sharp 11 in it.
Great chord, we'll get to that later.
On the E Elat 7, altered,
now we're starting to get down here.
We're off of this.
This is nicer to me, it's a little
bit more in a comfortable register.
But again, there's our guide tones.
You wanna turn them upside down and
put the D Flat on the bottom, and
find your upper structure triad.
Think down a major third from the E flat.
And you got a B triad right there,
and that's a great register for it.
Here's our A Flat.
And let's voice this one.
We could go up there.
We could also go here, and
it's pretty nice and rich right there, or
the other alternate is to turn
the guide tones upside down,
play the triad as a root position thing.
Now we're on to D Flat 7.
And this one, [SOUND],
very nice in that register.
[NOISE] Maybe also you do this, you nest
your triad, there's your guide tones.
Leave the seventh out, even.
You get that kind of mysterioso thing
Onto our G flat altered core.
There's our guide tones.
Let's put a root position D on there.
No reason you can't go there either.
Use the first inversion and
put the D on top.
Make yourself a little melody out of this,
chromatic alterations in there.
We're up to B altered and
now it's gonna be a G triad, then E.
Remember the Cycle of Fifths,
you're going down by fifths, essentially.
So we just finished with the B altered,
and now the next step
is the E seven altered.
That's going to be a C triad.
I would prefer that [SOUND], there maybe,
it's okay either place really.
A, [SOUND], that's a great voicing.
The D, another great voicing.
Again we're down a minor third from this
one which I kind of thought maybe might
be better lower.
In this register it's nice.
Last one is the G, [SOUND], I'm going to
go ahead and put it right there like that.
This gets a little muddy, starts to sound
like the base note, and there we go.
Work these out on the Cycle of Fifths,
learn to find them in that way.
The quick method, of course,
is just to think down a major third,
drop a major triad on that scale degree,
you're in business with a classic altered
sound, the upper structured triad.
Let's take a look at another one,
if you remember before we go,
I was using this as a melodic
I was using it as,
melodic information by arpeggiating it.
The other one we're arpeggiating was
built on the natural 6 scale degree and
that's the one we're gonna visit
next in our two handed comping.