Upper Structure Triads for Jazz Piano

Welcome to this seminar on upper structure triads, an essential tool for creating sophisticated dominant chord voicings in jazz piano. In this lesson, we explore the four most useful upper structures and how to apply them to common jazz standards.

By the end of this session, you’ll have a solid understanding of how to construct and integrate upper structure triads into your playing, helping you achieve richer harmonic colors and a more professional jazz sound.

Understanding Upper Structures

An upper structure is a triad played in the right hand over a dominant 7th shell voicing in the left hand. These triads outline the upper extensions and alterations of a dominant chord, creating harmonic tension and resolution.

Upper structures are primarily used on dominant chords and can include extensions such as the 9th, sharp 11th, and 13th. The key to mastering them is understanding which triads to build on top of the dominant chord shell (root, 3rd, and 7th).

The Four Essential Upper Structures:

1. Upper Structure 2 – Built on the 2nd degree of the scale (Major triad)

   • Produces 9, #11, 13
   • Example: Over C7, play a D major triad (D-F#-A)

2. Upper Structure #4 – Built on the #4 (or #11) degree of the scale

   • Produces #11, 7, b9
   • Example: Over C7, play an F# major triad (F#-A#-C#)

3. Upper Structure #5 – Built on the #5 (or b13) degree of the scale

   • Produces b13, Root, #9
   • Example: Over C7, play an Ab major triad (Ab-C-Eb)
4. Upper Structure 13 – Built on the 13th degree of the scale
   • Produces 13, b9, 3
   • Example: Over C7, play an A major triad (A-C#-E)

Applying Upper Structures to Jazz Standards

Misty – E♭7 and D♭7 Voicings

In Misty, the melody note over E♭7 is C (the 13th). Using Upper Structure 2 (F major triad) or Upper Structure 13 (C major triad) enhances the harmony with lush extensions.

For D♭7, the melody note is B♭ (also the 13th), so we apply the same process. Playing an E♭ major triad over D♭7 creates a beautiful 13#11 sound.

Tenderly – A♭7 and D♭7

In Tenderly, an A♭7 with D in the melody suggests Upper Structure 2 (B♭ major triad), adding 9, #11, 13. Over D♭7, with the melody on G (the #11), an A major triad gives a bright, altered dominant sound.

There Will Never Be Another You – G7 and F7

In There Will Never Be Another You, a G7 chord with F in the melody suggests Upper Structure #4 (D♭ major triad), creating a #11, 7, b9 altered dominant voicing. For F7 with D in the melody, a D major triad provides a 13, b9, 3 structure.

Practice Tips for Mastering Upper Structures

1. Memorize Major Triads in All Keys – The foundation of upper structures is knowing your major triads fluently.

2. Identify Melody Notes Over Dominant Chords – Check if the melody contains a 9th, #11, or 13th, and select the corresponding upper structure.

3. Drill Upper Structures Through 2-5-1 Progressions – Apply them in II-V-I progressions to hear their resolution.

4. Use Them in Ballads and Comping – Upper structures are especially effective in slow jazz ballads and comping with a rhythm section.

5. Experiment with Arpeggiating Upper Structures – Instead of playing them as block chords, try rolling or breaking them up for a more fluid sound.

By incorporating upper structure triads into your playing, you can transform your dominant chords into sophisticated, professional-sounding voicings. Take your time exploring these voicings and experiment with applying them to your favorite jazz standards. Happy practicing! 🎹