©2011 Milton Mermikides
C D¨/C D/CE¨/C E/C F/CG¨/C G/C A¨/CA/C B¨/C B/C
As we've seen briefly in Rock & Pop Devices, basic triads - when placed over non-chord tones - can createsophisticated harmonic/modal implications while retaining a sense of simplicity. Here's a roster of upper structure chords (major, minor and 7th) with their harmonic/modal implications in relation to thebass note and - where appropriate - the triad. The implications depend very much on context,remember it is how these devices are
- not dispassionately analysed - that is important.These devices are used in a wide range of music from Stevie to Stravinsky and the best way tolearn them is to identify them in music of others and use them in your own writing.These are termed variously as upper structure triads, slash or hybrid chords.Basic inversions are included from completeness.
Upper Structure Major Triads
Alternative spelling:Intervals from root:Modal implication:C(R, 3, 5)C IonianDbmaj7 3rd inv.(b9, 4, b6)C PhrygianD7 3rd inversion / Cmaj13(#11)(9, #4, 6)C Lydian
Alternative spelling:Intervals from root:Modal implication:Cm7 / Eb6 3rd inv.(b3, 5, b7)C Aeolian etc.Cmaj7#5(3, #5, 7)C Lydian #5F 2nd inv. Csus6(R, 4, 6)C Ionian
Alternative spelling:Intervals from root:Modal implication:C7alt(b9, b5, b7)C AlteredC maj9 (no 3rd)(9, 5, 7)C Ionian / LydianAb 1st inv. Cm(b6)(R, b3, b6)C Aeolian etc.
Alternative spelling:Intervals from root:Modal implication:C6(b9) / A7#9 4th inv.(b9, 3, 6)C Major b9Csus9(9, 4, b7)C MixolydianCm(maj7(#11)) Ab7(#9) no root(b3, #11, 7)C Melodic Minor (#11) or Double Harmonic Minor
wwwwwwbbwww#w w wwwwbbwww#wwww w wwwwbbbwwwwwwbbw w wwww#wwwbwww##w w w