Upper Structure Triad Runs & Fills

Welcome to this lesson on upper structure triad runs and fills. In this session, we explore how to use upper structure triads to create smooth and expressive fills when playing jazz piano.

By the end of this lesson, you will have a series of exercises and drills to help you visualise and internalise these shapes, allowing you to apply them spontaneously while playing jazz standards.

Understanding Upper Structure Triads

Upper structure triad (UST) voicings are triads built on specific chord extensions of the dominant chord, providing a structured way to voice and access extended and altered dominant harmonies. The four most commonly used upper structure triad vocings are:

• Upper Structure 2: A major triad built on the 9th of a dominant chord (e.g., D-major triad over C7).
• Upper Structure #4: A major triad built on the #11 of a dominant chord (e.g., F#-major triad over C7).
• Upper Structure #5: A major triad built on the #5 of a dominant chord (e.g., Ab-major triad over C7).
• Upper Structure 6: A major triad built on the 13th of a dominant chord (e.g., A-major over C7).

These 4 upper structures provide distinct color and texture to dominant chords, and in this seminar we explore how to incorporate them into runs and fills.

Applying Upper Structure Triads to 2-5-1 Progressions

A great way to drill upper structure triads is using the whole-step 2-5-1 sequence. This sequence moves through different keys by transposing the standard 2-5-1 progression (ii-V-I) down in whole steps.

This exercise reinforces hand movements between minor 9 chords and dominant upper structures, helping develop fluidity in both chord voicings and melodic runs.

1. Start with a Minor 9 Chord – For example, Dm9 (D-F-A-C-E).

2. Voice Lead into an Upper Structure Triad

3. Move the inner voices up or down to form an upper structure triad over the dominant chord – For example, move from Dm9 to an A-major triad over G7 (creating a G13#11 sound).

4. Resolve to a Major 7 Chord – Land smoothly on Cmaj7, completing the 2-5-1.

Practicing this in all 12 keys helps build familiarity with the UST shapes, enabling their application in real-time playing.

Using Upper Structure Triads for Fills & Runs

Beyond static voicings, upper structure triads can be used for fills and runs, enhancing movement in your playing. A common technique is arpeggiating the upper structure triad instead of simply playing it as a block chord.

For example:

• Over a G7 chord, instead of holding an A-major upper structure triad, you can run the triad up the keyboard.
• This creates a melodic fill while maintaining the harmonic colour of the chord.

Additionally, minor 11 voicings can be used as stepping stones to dominant upper structures, adding further movement and interest to your fills.

Applying These Concepts to Jazz Standards

Example: “Moonlight in Vermont”

• In the second bar, we encounter F-7 moving to Bb7.
• The melody note (G) acts as a pivot tone, allowing us to apply either:
  • Upper Structure 2 (C-major triad over Bb7)
  • Upper Structure 6 (G-major triad over Bb7)
• Running these triads instead of simply playing them as block chords adds movement and a fluid, sophisticated style of fill.

Example: “Misty”

• In bar six, we see a Gmin7 to C7 progression.
• Instead of static voicings, we use a minor 11 shape on Gmin7, followed by an upper structure run into C7.
• This approach bridges the gap between harmonic stability and melodic fluidity.

Practice Tips

1. Master the Hand Movements – Focus on smooth transitions between minor 9 chords and upper structure triads.
2. Use the Whole-Step 2-5-1 Sequence – This provides a structured way to drill upper structure applications in all keys.
3. Experiment with Arpeggios – Instead of playing upper structure triads as block chords, practice running them up the keyboard.
4. Apply to Real Songs – Identify static melody points in lead sheets where upper structures can be used as fills.
5. Combine With Other Techniques – Try using the minor 11 voicing starting point as a lead-in to dominant upper structure runs.

Conclusion

Upper structure triads are a powerful tool for adding harmonic depth and melodic interest to your playing. By practicing the exercises in this lesson, you will develop the ability to incorporate upper structure triad runs and fills seamlessly into jazz standards.

Keep experimenting with these concepts, and most importantly, apply them to real songs to make them a natural part of your playing. Happy practicing! 🎹