Upper Structure Triads in "The Days of Wine and Roses"

Welcome to this in-depth seminar on upper structure triads, using the jazz standard "The Days of Wine and Roses" as our study piece. This lesson is designed for intermediate jazz pianists looking to enrich their harmonic vocabulary by incorporating upper structure triads into their voicings.

By the end of this lesson, you’ll have a strong grasp of how to apply upper structure triads to dominant chords, create more sophisticated harmonies, and seamlessly integrate these sounds into your jazz playing.

Understanding Upper Structure Triads

Upper structure triads are a powerful technique used by jazz pianists to create color and texture over dominant chords. They involve playing a triad in the right hand while outlining the dominant shell in the left hand.

A key takeaway from this lesson is that upper structure triads sound best in second inversion. This inversion places the root of the triad in the middle, creating a balanced and resonant voicing.

Applying Upper Structures to "The Days of Wine and Roses"

In this lesson, we break down the main chord changes of the tune, analyzing where upper structure triads can be used to enhance the harmonic movement.

• Over Eb7, we use an F major triad to highlight the 9th, sharp 11th, and 13th.
• For D7, we apply a Bb major triad to create a D7#5#9 sound.
• In the B section, we explore using upper structures over C7 and G7, ensuring smooth voice leading and effective melody harmonization.

We also discuss how sus chords and passing chords can be integrated with upper structures to create rich harmonic movement.

The Importance of Melody Integration

One of the challenges with upper structure triads is aligning them with the melody. In this lesson, we focus on cases where the root, 11th, or 13th is in the melody, and we explore different options for harmonizing these notes effectively.

A key takeaway is that when the 11th is in the melody over a minor chord, it creates a perfect opportunity to transition into an upper structure triad on the following dominant chord.

Adding Passing Chords & Substitutions

To create fluid harmonic movement, we introduce passing chords and tritone substitutions. By inserting dominant chords a half-step above the target chord, we add sophisticated tension and resolution.

For example:

• In the transition from A-7 to D-7, we insert an Eb7 (tritone sub passing chords) voiced with an F major upper structure triad.
• This technique adds unexpected harmonic colors while maintaining a strong sense of motion in the arrangement.

Practice Tips

• UST Formulas – Memorize the four key upper structure triads. These are major triads built on the 9th, sharp 11th, sharp 5th, and 13th.

• USTs to Harmonize Melodies – Analyze lead sheets and identify step wise melodies where UST voicings can be used to harmonize the melody notes.

• Experiment with Passing Chords – Add dominant chords a half-step above your target chord and try to harmonise the melody note with an UST.

• Listen to the Voicings in Context – Play through "The Days of Wine and Roses" and listen to how upper structures enhance the sound of the arrangement.

By incorporating these concepts into your playing, you’ll develop a richer harmonic vocabulary and be able to approach jazz standards with greater confidence and creativity.

Keep practicing and experimenting with these voicings, and soon they will become a natural part of your jazz piano toolkit!