Upper Structures

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Upper structure voicings are based on polychords. The bottom part of the voicing suggests one chord, while the top part suggests another. The upper structure voicings discussed here form altered dominant seventh chords based on the root of the bottom chord. These voicings may be considered the harmonic equivalent of the melodic minor modes in that they provide a great deal of color. Indeed, many of these voicings are contained within the altered scale, a mode of the melodic minor scale. Upper structure voicings work equally well on keyboard or guitar.

To form an upper structure voicing, play the third and seventh of a dominant seventh chord, then add a different triad on top. For example, the following voicing is formed by placing a D major triad on top of the third and seventh of a C7 chord, E and Bb. It forms a C7#11 chord:

[EXAMPLE]

If any of the notes of the triad double the third or seventh of the bottom chord, then replace that note in the bottom part with the root of the chord. For example, if an Eb major triad is placed on top of the third and seventh of a C7 chord, the Bb is doubled. Therefore, we replace the Bb in the bottom part of the voicing with the root, C. This voicing forms a C7#9 chord:

[EXAMPLE]

Not all upper structure voicings will form altered dominant chords. For example, a B major triad over the third and seventh of a C7 chord yields the following voicing, which has an interesting sound in itself, but the presence of the major seventh (B) means this is no ordinary altered dominant chord:

[EXAMPLE]

The eight combinations shown above outline altered dominant seventh chords. The triads used and the chords they form are:

#i - 7b9#5 II - 7#11 biii - 7#9b5 bIII - 7#9 #iv - 7b9b5 bV - b9b5 bVI - #9#5 VI - 7b9

The various voicings that include altered ninths and fifths can usually be used interchangeably. They can all be found within either the altered scale or the HW diminished scale, or both:

[EXAMPLE]

The top and bottom portions of these voicings can be inverted within themselves. For example, the voicing formed by placing an Ab triad over the third and seventh of a C7 chord is often played with the Ab triad in second inversion:

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Similarly, the voicing formed by placing an Eb triad over the root and third of a C chord may be played with the Eb triad in first inversion and the third on the bottom of the C chord:

[EXAMPLE]

These types of permutations may be performed to preserve good voice leading between successive voicings. For example, consider the progression C7 - F7. This may be voiced using upper structures as Gb/C - D/F7. Played in root position, the voice leading leaves a lot to be desired:

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Any of the following inversions would work better:

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Copyright 2000 Outside Shore Music
Authored by Marc Sabatella

Upper Structures