Upper Structure
Upper Structures are a kind of chord layers, in German multiple chord ( from Engl. Polychord ) and a technical term from the Jazz. However, this technical term is modern, and is variously explained.
For example, a D major chord arpeggiated on a C major chord. Upper Structures are primary, more accurate, formed over dominant seventh chords over a tritone. The principle is also applicable to other types of chords. The Upper Structure chord here has a different tone than the underlying chord. In this case, repeated notes of the basic chord should be avoided by the Upper Structure chord and are allowed as top seal, especially if they then form dissonances. Upper Structures are also typically formed over final chords and are a standard means of expression of modern jazz musician.
Theory
Marc Levine calls it in his book The Jazz Piano Book in a narrow sense: A triad over a tritone. For other authors, this topic is discussed under bitonality (W. Burbat, A. Jungbluth, W. Pöhlert, Yamaha Music Foundation). Polytonality is therefore generally not meant.
You are so good to use with so-called Miles Davis what chords together. So -what chords are three quart layers with top final third. For example, e - a - d - g - h instead of g, one can take the deeper e: e - a - d - e - h in the original piece by Miles Davis: e - a - d - e - h and d - g -c -d - a ( In the middle of a semitone ( f and ) higher).
Examples
An acceptable final sound on eg C maj 7 is a D major triad will be completed with a b above. The b ( b-flat ) sounds above then something pinched and makes the C maj 7 chord no dominant chord, but an excessive from the D major chord. Classic and heard everywhere is the same example in the conclusion: d - f # - a - c. Beautiful are accounts on the sixth of the basic sound:
- Below C Major: c - g - e, above E Major: E - G # h, and finally e - g # - a ( back and gis -e)
- Below C Major: c - g - e, above G Major: g - h - d, and finally d - g - a ( and back down g - e )
- The principle of this: It adds up again parts of the base sound as a Dissononz: seventh, second, etc.
Very nice and then something similar with Mulgrew Miller: About f -as ( F minor ), as - play it -g and finish up with c - b. Worth listening is also the late-game by Bill Evans. The Carnegie Hall Concert 1938 James P. Johnson plays such sounds through two Boogies.
A F- Blues can, for example, complete with a beautiful F7, about a G- major triad, the very last place on an A - major triad and decorate with a small diatonic - chromatic completion will.
Survey
Here is a basic table by M. Levine:
U.S. is the abbreviation of Upper Structure, elsewhere referred to as a Tax. Subsequently, the level of which is at relative to I7, the underlying sound.
Not every use of E and B sounds good. If necessary, a sound must be omitted. In the basic sound through the Upper -structure chord doubled tones must be omitted from the basic sound. As upper Abschlusston one chooses again a tone of basic sound.
Examples of other types of chords Major maj 7, minor 7 or minor maj 7 etc. see table below.
We link instead of triads four or five sounds or even pentatonic scales one has an immense wealth of new sounds, but most can be easily decomposed into scales.
A slightly different very basic compilation comes from Dan Hearle, which is well practicable and several other Upper Structures than in the other tables:
Notes:
Extension
Each author has different principles for Upper Structures. Here is a very viable bottom of homepage for Guitar:
A chord, split eg C maj 7 in Terzschichtungen, and the triads contained therein are analyzed.
The chords obtained with one stroke to be analyzed:
Looking at the lydian scale with # 11 or F sharp, so fit from the above scheme more chords.
It also bears mentioning three rules:
- The Upper Structure chord should contain at least one voltage rating ( dissonance ), which is not to be avoided tone of the basic sound. This plays a role, especially in the major. The fourth is a tone and dominant seventh chords in the large Septim.
- An Upper Structure chord can be major or minor, diminished or be excessive. Good work major triads.
- You can use Upper Structure Chords both for solo improvisation as well as to accompany.
The following is a list that can be adapted or expanded as desired according to the above principle.
There are chord types specified, the voltage tones in figures for the intervals, the levels on which the Upper Structure chord is formed, and the interval functions that have the Upper Structure chord tones in the basic chord.
For C maj 7 for B.liest to the Upper Structure chord in the first line on the fifth (V ) level, G, with the tones from 5 - 7 - 9, ie GH D.
- V denotes a minor chord on the fifth stage.
- V means an excessive chord on the fifth stage.
- Bvii means a major triad on the lowered seventh (b7 ) level.
- Bv means a triad on the tritone. Depending on a gamut own sound.
Multiple chords
Marc Sabatellas listing is very complete and gives good sound results. It differs
Multiple chords without double notes on major:
Similar multiple chords you can create with a minor triad below:
Upper Structures
Marc Sabatella want to know double notes avoided. One way to construct multiple chords that avoid double notes is to replace the lower triad, either by the third and the seventh, the root and the seventh or the root and the third of the dominant chord. Handles that are constructed in this way, he now referred to more accurately " Upper Structures". They always mean a kind of dominant chord.
There are so several possible C7 Upper -Structures:
The scales of the last three tables can be used to improvise. Some very dissonant intervals between basic sound and upper triad should be avoided.
Extension
This gives very interesting results if you extend the principle to four-part upper chords. For example, C major, D major down 9 above: c- e-g - fis -a - d - e ...
Or you can use the same whole or any part of pentatonic scales as the upper chords.
For orientation, all of the above tables can be used or own combinations to be tried for their suitability.