The theoretical and practical
Application of
Upper Structure Triads
By
Hannah Koppenburg
July 2015
BA(Mus) Hons
Academy of Contemporary Music
PRM-602 Specialist Project
Acknowledgments
I would like to thank the following people. Without their help this project would not have been possible:
Pete Roth and Diego Kovadlo! -for the help with this project and the continuous
source of inspiration
Susanna Sifter -for introducing me to the world of Upper Structure Triads at Berklee
College of Music and the continuous help regarding this topic
David Clement-Smith - for the support and continuos source of inspiration throughout
my two year course
Dave Mackay, Jason Rebello and Taylor Eigsti- for the time they gave me to
answer all my questions
ACM Tutors -for the inspiration to continue with music and my studies
My Family and Friends -for the love and support throughout my time studying
John Langfield and the ACM Library -for the support and access of books and other
relevant documents.
Thank you.
Table of Contents
Acknowledgments………2 Abbreviations………4 I. Introduction………5 II. Methodology………7 III. Background……….93.1. What is an Upper Structure Triad?……….9
3.2. The Role of the Left Hand……….12
3.3. How do we perceive USTs?………..13
IV. Research Question………20
V. The Application of USTs………21
5.1. USTs in Comping………..21
5.2. Linear USTs……….…..25
5.3. USTs in Soloing……….28
5.4. USTs over tritone substitution………32
5.5 Examples of USTs in chronological order………35
VI. Conclusion & Recommendations………49
VI. References……….50
Abbreviations
ACM Academy of Contemporary Music
LH Left Hand
LST Lower structure triad
RH Right Hand
T Tension
UST Upper structure triad
p. Page
b. Bar
Introduction
“ Sometimes you have to play a long time to be able to play like yourself.” (Davis, n.d.)
The aim of this dissertation is to investigate and outline the role of Upper Structure Triads (USTs, appendices C) within Jazz Piano. It will introduce concepts for how to interpret USTs and where to apply them.
The purpose of this work is to enrich my own playing as an accompanist and improviser, but also to provide myself with an understanding of the theory behind these voicings. I was introduced to USTs at the Berklee College of Music. It opened my eyes to jazz piano playing; everything suddenly seemed to be broken down into simple parts. All at once the big obstacle “Jazz Piano” seemed to be achievable, perhaps an even bigger challenge, but not ultimately impossible.
In the background of this dissertation I will explain the theoretical concepts behind USTs. I will outline the process of how to perceive USTs their chord scale relationships.
The discussion will focus on how and where USTs are applied, not only in accompanying, but also in soloing and harmonising melodies.
I will show how USTs are applied in a voice leading and improvisational context. Various jazz pieces from different eras have been transcribed and analysed to demonstrate the
use and application of USTs by different jazz pianists.
Finally I will discuss the opinions of several jazz pianists to whom I have spoken
throughout my research process on this ‘different way of thinking’. I am trying to discover whether USTs are a purely analytical concept or are a useful tool for many jazz pianists and applied in practice. I will identify where and when USTs are actually used and in which context.
By the end of this dissertation I aim to show how USTs are practically performed over chord changes in jazz piano to enrich voicings and create individuality.
With the words of pianist Duke Ellington:
“There is no art without intention.” (n.d.)
Methodology
Primary research sources
Primary research data was obtained by developing and subsequently analysing my own transcriptions of a selection of historic and current repertoire, including ‘Giant Steps’ by John Coltrane, ‘Moanin’ by Bobby Timmons or Brad Mehldau’s cover of ’50 Ways To Leave Your Lover’. These examples helped to get an insight of the practical application of the USTs.
Additionally transcriptions from the performances of other musicians including Herbie Hancock, Bud Powell, Bill Evans, Mark Levine, Barry Harris, Horace Silver, Sonny Clark, Bobby Timmons, Count Basie, Earl Hines and McCoy Tyner have been analysed and are illustrated in the form of short examples throughout this study.
The purpose of these examples is to outline the application of USTs in practice.
Further theoretical concepts were reviewed in the form of my own transcriptions or tables.
Other information was collected in the form of interviews with the pianists Dave Clement-Smith, Jason Rebello, Suzanna Sifter, Taylor Eigsti and Dave Mackay, who have a key role in jazz piano. This helped to gain insight into their personal application and placement of USTs.
Secondary research sources
Secondary data was reviewed in form of literature, including textbooks or academic articles, for exampleThe Jazz Piano Book by Mark Levine (1989), Berklee Jazz Keyboard Harmony by Suzanna Sifter (2011) or How To Improvise by Hal Crook (1991).
Note on referencing
Sources have been referenced using the Harvard referencing system. My own transcriptions can be found in the Appendices. Relevant excerpts from additional transcriptions are presented in the main body of the dissertation. These are referenced to the srcinal by page and bar number.
Technical terms have been defined in the Glossary.
Background
“ Upper Structures: The art of doing usual things in unusual places” (Lyon, 2014)
This section will include important information and details about USTs.
Triads and musical structures have been explained and defined in the appendix A1 and A2.
Example USTs over a C7 chord Figure 1
What is an Upper Structure Triad?
“[…] voicing chords with regard to the upper structure versus the lower structure results in a certain energetic harmonic feeling.”
(Berkman, 2013)
It seems difficult to find a fixed definition for USTs. Summarising all textbooks it can be described as a triad in any inversion which consists of at least one extension above the octave of the scale of the moment based on a supportive chord sound, usually a tritone.
{
Piano Piano
C13(#11)
C13(#11)
C7½
C7½
IIII bVI bVI
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b b
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This is shown in figure 1 where there are a Dm Triad and a Ab Triad over over the third and flat seven of a C voicing (E and Bb).
Figure 2 shows the chord tones and tensions of the C Ionian scale in an ascending triadic order:
Ascending thirds of a C Ionian scale Figure 2
The lower structure partials/chord tones and the triads that are built within them are marked in blue. It is noticeable that these first two triads (1, 3, 5 and 3, 5, 7) don't show any tensions or colour notes as they consist only of chord tones. The first triad that indicates any tension is based on the 5th degree of the scale and offers the colour note 9. In figure 2 all tensions and the triads containing at least one of them are highlighted in red.
This shows that an UST is any tension/chord tone combination organised into a triad (Sifter, 2011). Chord tones are considered the root, third, fifths and seventh of a chord.1
An extensions of a chord is considered any diatonic note above the octave, whereas alterations are notes, which are not diatonic to the scale of the moment, often a semitone away like #9 and b9, or #11 and b13. The ninth can also be described as a colour note. It mainly adds colour to the voicing but doesn't create tension since it doesn't need to resolve. Tensions are all extensions or alterations that create tension to the full voicing such as 11 or 7. A further discussion about these terminologies can be found in appendix Ax. The term tension will in this study be used to describe extensions, tensions and
alterations.
the seventh degree is usually considered as a chord tone (5) even though it is sometimes undecided 1
whether it should be a chord tone or a tensions as it is arguable whether it stabilises or unstabilises the chord (freejazz, 2015).
This study will consider it as a chord tone and lower partial from this point given in any further mentioning in this piece of work.
10
1
1 3 3 5 5 7 7 9 9 11 11 13 13 1 1 33
Triads consisting of only chord tones are called ‘Lower Structure Triads’ (LSTs) and will therefore always be built on the root or the third. Any other triad is called ‘Upper Structure Triad’ (UST) as it describes the upper part of the chord.
Jazz pianists have always been using extended chords to create a sophisticated harmony and a “rich, vibrant harmonic sound” as book author Sifter (2011) describes it.
This is why USTs become desirable, as they can add a bi-tonal relationship by doing something very simple and basic (triad). Pease (2001) describes them as a “powerful sound with a high level of resonance”. USTs are a shortcut to playing a complicated chord.
USTs can be major, minor, diminished or augmented triads even though the major and minor triads are preferred. With the words of Crook (1991): “[…] major is usually the preferable one due to the brightness and clarity of the major chord.”
USTs have to be differentiated from slash chords. The more commonly used slash chords function above just a single bass note. They're are indicated with a slash “/“ in-between the chord on the left side and the bass note on the right side (e.g. D/C). Other than slash chords, USTs can appear above a chord or harmony (e.g third and seventh).
Unfortunately there is no general/standard notation for USTs. The musician has to decide themselves whether to apply them or not and additionally which UST to use. This gives one the freedom to play it over a full chord or at least with a band that plays the full chord, in that event only the upper partials are added by the pianist. It furthermore provides freedom for the musician to choose which tensions they wish to add. If notation was in place then this would be decided for them and perhaps less individual creativity would be applied.
Tony Germain from the Piano Department of Berklee College of Music describes the use of USTs with the words “Familiarity with them [USTs] helps to improve our ears, causing familiarity of new sounds and reinforcement of harmonic knowledge and
experimentation.” (2011) or with simpler words: “If it sounds good and feels good, then it IS good!” (Ellington, n.d.).
The Role of the Left Hand (LH)
“The guide tones (LH) express the chord quality while the UST adds colour” (Sifter, 2011)
To avoid doubling of too many notes, however it is recommended to leave out the full chord in the left hand (even though it is sometimes applied in soloing to support the harmony). Therefore most pianists choose to play ‘shell voicings’ in the left hand. These usually contain the third and the seventh in both inversions (Figure 3).
Left hand shell voicings in C Figure 3
These shell voicings are very common in jazz as pianists tend to avoid doublings (Levine,2
1989) though at the same time play the most important and characteristic notes of the voicing (third describes whether it is a minor or major chord, seventh describes whether it is major, minor or dominant).
The space between left hand and right hand plays a decisive role. As Nettles and Graf state in their bookThe Chord Scale Theory & Jazz Harmony: “ both structures must each be independently identifiable, though sound like a complete identity” (1997).
Therefore UST and LH voicing should not be further apart than a major sixth to keep the3
collective sound, but also should not overlap within each other to avoid a clash (Moehrke, 2007).
The avoidance of doublings is to work with the acoustic of the overtone series (see Appendices A4) 2
Unless the UST is used for soloing. Solo lines can be higher up as they are just support and fill out the chord 3 sound. 12
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b3 b3 b3 b3 b7 b7 b7 b7 Minor Seven Minor Seven b7 b7 b7 b7 b3 b3 b3 b3 b7 b7 b7 b7 3333 Dominant Seven Dominant Seven b7 b7 b7 b7 3333 7 7 7 7 3333 Major Seven Major Seven 7 7 7 7 3333wwww b b
b b wwww
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How do we perceive USTs?
The focus will be on the most common progression in jazz: the II-V-I and therefore major seventh, minor seventh and dominant seventh chords.
The first step is to identify the scale of the moment, since USTs can vary depending on the degree of the chord they are meant to be played over.
Major seven
The first mode is the Ionian scale (Figure 4).
The C Ionian scale Figure 4
As a next step, diatonic triads can to be built on every note of the scale (Figure 5). In the context of this work minor will be marked by the shortcut “–“ and diminished will be labelled by “o”. The degree of the triad is indicated above in roman numerals. LSTs are highlighted in blue, USTs are highlighted in red. All triads containing the avoid note are highlighted in green.
Triads over the C Ionian scale Figure 5 1 2 1 2 3 3 4 4 5 5 6 6 7 7 11
& œ œ œ œ œ œ œ œ
&
C C II D‹ D‹ II-E‹ E‹ III-FF IV IV G G V V A‹ A‹ VI-Bº Bº viio viioœœœ œœœ œœœ œœœ
œœœ œœœ œœœ
The fourth of this scale is an avoid note since the semitone interval clashes with the major third (chord tone). Ramos describes it as “Avoid notes are notes that do not belong to the current chord scale or clash with a chord tone of the current chord scale” (2011). Therefore any UST containing the fourth should not be played .4
Five of these diatonic triads can be discarded straight away:
Therefore only UST V and UST VI– (highlighted in red in figure 5) remain to be used from the diatonic chords. UST V adds the ninth and UST VI– adds the 13th. These are the first two UST playable over a major seventh chord.
The same scheme can be applied to the fourth mode, the lydian scale (Figure 6).
Triads over the C Lydian scale Figure 6
an exception is a sus4 chord or using the fourth within a passing chord. 4
14
I consisting of only chord tones
II– contains the avoid note
III– consisting of only chord tones
IV contains the avoid note
VII– contains the avoid note
&&
CC II D D II II E‹ E‹ III-F©º F©º IVo IVo G G V V A‹ A‹ VI-B‹ B‹vii-œœœœœœ vii-œœœœœœ## vii-œœœœœœ vii-œœœœœœ## vii-œœœœœœ
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In this scale there are no avoid notes, which means that the USTs II, IV o and VII– as well as V and VI– (the same as in Ionian) are employed. Even though diminished triads can also be considered as USTs, IV o is not one of the ones that are recommended to be played.
From this it can be summarised that the Lydian USTs II, V, VI– and VII– are playable over any major seventh chord.
Minor seven
The second mode, Dorian, functions over the ii of a ii-V-I progression.Characteristic of this mode are the minor third and minor seventh (Figure 7).
The C Dorian scale Figure 7
Building diatonic triads on each note yields the following (figure 8)
Triads over the C Dorian scale Figure 8 11 2 2 b3 b3 4 4 5 5 6 6 b7 b7 11
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I-C‹ C‹ II-D‹ D‹ bIII bIII E¨ E¨ IV IV FF V-G‹ G‹ VIo VIo Aº Aº BVII BVII B¨ B¨œœœœœœ
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The Dorian mode does not have any avoid notes due to the whole step between the b3 and 4. Therefore the following USTs are available :5
Figure 9 and 10 show the triads built over the Aeolian and Phrygian scale. These can also be used over a minor seventh chord, even though the Dorian scale is probably more commonly used. We receive slightly different USTs (in red) from those scales.
Triads over the C Aeolian scale Figure 9
Triads over the C Phrygian scale Figure 10
Even though some diminished triads provide tension and are marked in red, they are not preferred as 5
USTs and therefore not shown in further listings.
16 II– Tension (T) 9, 11, 13 IV Tension 11, 13 V– Tension 9 bVII– Tension 9, 11
&&
I-C‹ C‹ IIo IIo Dº Dº bIII bIII E¨ E¨ IV-F‹ F‹ V-G‹ G‹ bVI bVI A¨ A¨ BVII BVII B¨ B¨œœœœœœ
b b œœœœœœ
b b œœœœœœ b b
b b œœœœœœ
b b œœœœœœ
b b œœœœœœ
b b b b œœœœœœ b b
&&
I-C‹ C‹ bII bII D¨ D¨ bIII bIII E¨ E¨ IV-F‹ F‹ Vo Vo Gº Gº bVI bVI A¨ A¨ BVII-B¨‹ B¨‹œœœœœœ
b b œœœœœœ
b b b b œœœœœœ b b
b b œœœœœœ
b b œœœœœœ
b b b b œœœœœœ b b
b b œœœœœœ
b b b b
The new USTs from these two scales are:
Some USTs are more commonly used than others. It also has to be ensured that the right UST fits over the right scale. So for example a UST containing the b9 (e.g. UST bII) will clash over a the Dorian mode.
Dominant seven
Compared to major and minor seven there is a much bigger choice of scales for dominant chords: Mixolydian, Altered, Lydian-dominant and the Half/Whole diminished scale.
The system to achieve the USTs is exactly the same as for major and minor (see above). The fourth (avoid note) has to be avoided because of the clash between the major third
and perfect fourth. The major seven is also an avoid note over the dominant chord, however, since it does not come up in any of the scales above there is no need to worry about it.
The Mixolydian mode is the only mode (of all the above named ones) in which there are no altered tensions. The USTs are similar to the major seventh except that there is the flat seven. Therefore its USTs will be V– and VI–.
Looking at the other scales however, altered tensions will appear:
Lydian Dominant: II, #IV–
Altered: bII–, bIII–, #IV, bVI
Half/Whole: I–, bIII, bIII–, #IV, VI
bII Tension b9, 11, b13
IV– Tension 11, b13
bVI Tension b13
bVII Tension 9, 11
To obtain altered tensions, USTs from these scales have to be used over the dominant chord or, in other words, all USTs will be diatonic to the related scale, however, to achieve altered tensions, scales containing these alterations have to be used.
Typically: Enharmonic spelling will occur since some notes of the triad function as a different note within the full voicing (e.g. b3 and #9).
In the following table (figure 11) all the possible USTs are shown over each chord tonality. The less common USTs are not shown in the table.
(USTs in Brackets are sometimes used even though they contain a non-harmonic tone from the scale)
USTs in order of tonality Figure 11
18
Chord Type Chord Scale Preferred UST
Major 7/Major 6 Ionian VI–V,
Lydian II, V, VI–, VII–
Dominant 7 sus 4 Mixolydian sus 4 I, II–, IV, VI–, bVII
Dominant 7 Mixolydian V–, VI–, (bVII)
Lydian b7 II, bVII+
Altered bV, bVI, bII–, bIII–
Half/Whole bIII, bV, VI
Phrygian Dominant bII–
Minor 6, Minor/Major 7 Minor/Major 7
Melodic Minor II–, bIII+, IV, V
Harmonic Minor V
Minor 7 Dorian II–, IV, V–, bVII
Aeolian V–, bVII
Phrygian bVI, (bII)
Minor 7b5 Locrian bVI, (bII), (bV)
Locrian nat9 bVI, bVII
Diminished 7 Whole/Half II, IV, bVI, VII
Augmented/Major 7 Lydian augmented (melodic
min.)
VII–, (II)
Ionian augmented (harmonic min.)
Figure 12 shows all possible USTs in order. It also describes the individual tensions each of them offers and which tonality they are playable over:
USTs in ascending order Figure 12
UST Playable over Tensions
I– Dominant #9 bII– Dominant b9, b13 II Major Dominant Diminished 9, #11(/b5), 13(/bb7) II– Minor Sus4 9, 11, 13 bIII Dominant #9 bIII– Dominant #9, #11 IV Minor Diminished Sus4 11, 13 #IV Dominant b9, #11 #IV– Dominant (Diminished?) b9, #11, 13 V Major 9 V– Dominant Minor 9 bVI Dominant #9, b13 VI Dominant b9, 13 VI– Major Dominant 13 bVII Minor Half-diminished Sus4 9, 11 VII Diminished 14 VII– Major Diminished 9, #11
Having covered the basic theory and background regarding USTs, the main aim of this study will investigate the following Research Question:
What are the possible applications of Upper Structure Triads in Jazz Piano?
The Application of USTs
“Don’t play what’s there, play what’s not there.” (Davis, n.d.)
In this section the application of USTs is discussed in the context of comping, voice leading and soloing.
USTs in Comping
Dominant seven
In jazz piano the most common use of USTs is over II-V-Is, particularly over the Dominant seventh chord.
As visible in the table of Figure 11 and 12, the majority of USTs are playable over the dominant chord due to a significant number of scales associated with its sound.
The USTs V– (T9) and VI– (T13) are the most common USTs utilised over a dominant seventh chord. Both only imply one diatonic tension and two chord tones which makes them easy to apply. V– is often seen as just the upper half of a dominant nine chord, VI- is the triad of the parallel minor. Both are often found arpeggiated in an improvisational context (figure 13) or as tools for comping.
Horace Silver’s comping on the changes to ‘Blowin’ the Blues away’ (Patton, 2013 p.224 b.9-12) Figure 13
Alterations are very common over dominant seventh chords, therefore USTs like bIII (T#9), #IV (Tb9, #11) or bVI (T#9, b13) are good to use over dominant chords (figure 14).
Hancock’s Piano Solo in ‘Speak like a child’ (Hancock, 2002 p.62)
Figure 14
Figure 15 shows an arrangement of ‘Stella by Starlight’. Many alterations like b9, #9 or #11 are used over the dominant chords to harmonise the melody line.
Stella by Starlight arrangement by Mark Levine(Levine, 1989 p.109) Figure 15
Minor seven
Over minor chords it is common to use the II– and the bVII, but also the bVI. II– and bVII have a similar outcome since they both provide the 9 and 11, bVI although srcinates from the Phrygian scale and provides the b13 as shown in figure 16 and 17 below.
Bill Evans Solo in ’34 Skidoo’
(Edstrom, 2004 p.41 b.20-22) Figure 16
Bill Evans Solo in ’34 Skidoo’ (Edstrom, 2004 p.42 b.45-46) Figure 17
Major seven
On major seven chords the USTs V and V– are mostly seen as shown in figure 18. However USTs aren’t applied very often over major seventh and therefore not many examples can be found.
Figure 18 shows that there is just a minimal difference between UST V over dominant and major seven: the third of the UST in this context is the seven of the whole voicing.
Barry Harris’s comping on the changes to ‘Nicaragua’ (Patton, 2013 p.171 b.9)
Figure 18
In the context of comping USTs are often spontaneously chosen by the musician since they are usually not notated. If chords are notated with tensions they can be played with either normal close or drop voicings or with USTs.
In this context USTs support the voicings but don’t make them sound too full or muddy as they often only imply the tensions. Typically USTs in comping are applied in block chords and therefore vertical, not arpeggiated.
The wide choice of USTs (especially over dominant seventh) enable the musician to apply them sequentially and therefore make the comping more interesting (e.g. alternation between V– and VI– or VI and VI–, etc.).
USTs can be applied in the middle or higher register of the keyboard and beyond that played in the different inversions. This allows comping to be a lot more versatile and variable as the choice of possible options is immense.
Nonetheless it is worth considering that, besides it is the artistic choice of the pianist -USTs have to be applied dubiously in order to avoid unnecessary clashes. (Therefore the pianist has to be aware what other musicians are playing, e.g. if the vocalist is singing the ninth it would be a clash to apply USTs VI or bIII since the flat/sharp nine are just a semitone away. )
Additionally it is important to underscore that comping is typically a combination of USTs and other voicing concepts, making it more variable and engaging. Most of the figures shown above are a combination of both.
Linear USTs/USTs in voice leading
Linear USTs are triads that describe the melody line at the same time as providing tensions. In this context USTs are not built arbitrarily, but rather with a direct influence from the melody line.
Linear USTs are often used when the melody is played by the piano, but instead of losing the rich sound of full voicings the melody and tensions are combined within one triad .6
According to Dominic Alldis in his bookClassical Approach to Jazz Piano “voice leading is crucial especially in the upper parts where the harmonic line is clearly heard” (2000).
In contrast to the usual freedom of choice for USTs, they are now built after the following guiding principles:
1. The appropriate chord scale and the melody pitch have to be identified. 2. Every possible UST over the chord has to be allocated (see Figure 11) 3. All applicable USTs have to be reduced to the ones containing the melody pitch 4. Appropriate/suitable UST has t o be created.
This application has to be restricted to certain pieces since not every melody is suitable for playing linear USTs. For instance bebop standards such as ‘Ornithology’ by Charlie Parker have a far too busy and complicated melody to be supported by triads, whereas more spacious melodies such as ‘Giant Steps’ by Coltrane or ‘So What’ by Miles Davis seem to be a lot more suitable for applying this approach. Figure 19 shows the use of linear USTs over the changes of ‘Giant Steps’. In there the chord symbols of the srcinal standard are given (in black). The UST, which is played in the right hand, is added in red. The degree of the UST is added in blue above. Thereby it is noticeable that only 6 different
types of USTs have been utilised:
over major seventh: V and VI–
over dominant seventh: V– and VI–
over minor seventh: II– and bVII
I tried to avoid using altered tensions since the harmony is already very complex due to the use of the three different key centres in the tri-tonic-system . Additional information
7
regarding ‘Giant Steps’ and the tri-tonic-system can be found in appendix A5.
The melody pitch is generally the top note of UST in this case. The highest pitch of a voicing is usually 6
perceived stronger than the pitches in the middle. The human ear can distinguish a higher pitch easier since the frequency of the sound (measured in Hertz) is a lot higher than for low pitches. Therefore if the melody line has to be emphasised it is strongly recommended to voice it so that the melody pitch is on top of the triad.
The three key centres are (in the case of ‘Giant Steps’) Eb, B and G and are all a major third apart and create 7
therefore a symmetrical pattern called the tri-tonic-system.
Linear use of USTs to harmonise the melody line in ‘Giant Steps’ by John Coltrane Figure 19
{
{
{
{
Piano Piano BŒ„Š7 BŒ„Š7 F© F© VV D7 D7 B‹ B‹ VI-GŒ„Š7 GŒ„Š7 B‹ B‹ VI-B¨7 B¨7 G‹ G‹ VI-E¨Œ„Š7 E¨Œ„Š7 B¨ B¨ VV E‹ E‹ A‹7 A‹7 V-D7 D7 A‹ A‹ q q = 240 = 240 Pno. Pno. GŒ„Š7 GŒ„Š7 D D VV B¨7 B¨7 G‹ G‹ VI-E¨Œ„Š7 E¨Œ„Š7 C‹ C‹ VI-F©7 F©7 D©‹ D©‹ VI-BŒ„Š7 BŒ„Š7 F© F© VV F‹7 F‹7 C‹ C‹ V-B¨7 B¨7 F‹ F‹ V-E¨Œ„Š7 E¨Œ„Š7 B¨ B¨ VV 55 Pno. Pno. A‹7 A‹7 E‹ E‹ V-D7 D7 A‹ A‹ V-GŒ„Š7 GŒ„Š7 D D VV C©‹7 C©‹7BB bVII bVII F©7 F©7 D©‹ D©‹ VI-BŒ„Š7 BŒ„Š7F©F© VV 99 Pno. Pno. F‹7 F‹7 C‹ C‹ V-B¨7 B¨7 G‹ G‹ VI-E¨Œ„Š7 E¨Œ„Š7 B¨ B¨ VV C©‹7 C©‹7 BB bVII bVII F©7 F©7 D©‹ D©‹ VI-13 1344
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USTs over Giant Steps
USTs over Giant Steps
Transcription: Hannah Koppenburg Transcription: Hannah Koppenburg
John Coltrane John Coltrane
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In the example of ‘Giant Steps’ the use of the left hand voicings is clearly visible. LH voicings and USTs combined build very rich and full voicings to harmonise the melody line.
An arrangement of ‘Mirror, Mirror’ Chick Corea can be found in appendix D2 as another example of linear USTs.
USTs in Soloing
USTs are a great tool for soloing. A stylistic effect is achievable by simply arpeggiating the UST.
Four different improvisation techniques can be highlighted:
-
Arpeggio over the chord of a suitable UST (figure 20): with this technique many tensions are available, however, it should be assured that the full chord is still played (by another instrument or in the left hand) - otherwise the character and sound of the actual chord can get lost.Coltrane's Sax Solo in Giant Steps (Appendix E1 p.13 b.264) Figure 20
-
Arpeggiated USTs in a sequence; in this technique arpeggios alternate between two or more USTs (figure 21 & 22: VI– and V–). This offers a wide palette of tensions with a few chord tones.Coltrane's Sax Solo in ‘Giant Steps’ (Appendix E1 p.13 b.262) Figure 21
Count Basie’s solo in ‘Splanky’ (Wise Publications, 2006 p.6) Figure 22
-
Interchangeable UST and chord tone arpeggios: Here arpeggios alternate between chord tones and one or more USTs (figure 23: chord tones: G triad; UST: Fm triad). With this technique the important chord tones and some tensions are provided.Coltrane's Sax Solo in ‘Giant Steps’ (Appendix E1 p.2 b.22) Figure 23
-
Chromatic approach to USTs: For every note of the UST it is possible to play a chromatic approach note a semitone away. Since many USTs consist of altered tensions the chromatic notes in them are usually chord tones or notes of the scale (e.g. over C7: UST bIII: D#, G, Bb; Triad a semitone below: D, F#, A; Triad a semitone above: E, Ab, B) also if an UST consists of diatonic tensions the chromatic approach provides the alterations. There will be some notes which are outside the scale or avoid notes (such as F or B over a C7 chord) but they simply function as passing notes and therefore have no significant effect. This technique has a similar character to bebop scales, which also contain chromaticism. It opens up many possibilities for improvisation. Figure 24 shows UST V- (Fm) with the chromatic approach note G.Flanagan’s piano Solo in ‘Giant Steps’ (Appendix E1 p.11 b.223) Figure 24
A vast amount of USTS can be found when analysing transcriptions of solos. In this context USTs are particularly useful since they can easily blend into the solo. In arpeggiated or vertical form they can present tensions or colour notes in addition to different scales, chord tone arpeggios or other improvising concepts. Therefore USTs should be seen as an additional approach as opposed to be used as an autonomous concept. Figure 25 shows a combination of USTs and other arpeggios.
Bill Evans Solo in ‘Oleo’ (Tymoczko, 2015 p.2 b.57-59) Figure 25
Whilst USTs in comping are specifically well suited for piano voicings - due to the wide range that is created by both hands - in soloing, they are also often played by other instruments such as saxophone or guitar.
USTs over Tritone Substitution
Tritone substitutions are arguably the most common chord substitution in jazz. In short, they are applicable over V7. The interval between the third and b7 is a tritone (#4) and therefore these two notes function as third and flat seventh of another dominant chord a tritone away as well. They just swap their degree (third becomes b7 and the other way round).
Tritone substitutions are most commonly played over II-V-Is and essentially create a chromatic descending bass line between the supertonic and the tonic (see figure 26).
Tritone Substitution over a II-V-I in C Figure 26
Using USTs over tritone substitution would mean that one UST voicing can be played over both chords and therefore the pianist doesn't need to ‘re-think’ the chord if the other musicians in the band play a tritone substitution, as the left hand voicing stays the same and the UST would as well.
USTs over Tritone Substitution in C/F# Figure 27
The same triads are highlighted with the same colour in figure 27. It turns out that most of the USTs work over both keys or, in other words, most of the USTs are exactly the same a tritone apart and thereby interchangeable. This would mean that one UST voicing can be played over both chords and therefore the pianist doesn't need to ‘re-think’ the chord if the other musicians in the band play a tritone substitution, as the left hand voicing stays the same and the UST would as well.
The following USTs correspond to each other:
Corresponding USTs over Tritone Substitution Figure 28 Degree USTof G7 Db7 I– Gm Dbm bII– Abm Dm II A Eb bIII Bb E bIII– Bbm Em
III+ Baug Faug
#IV C# G #IV– C#m Gm V– Dm Abm bVI Eb A VI E Bb VI– Em Bbm I– <–> #IV– bII– <–> V– II <–> bVI bIII <–> VI bIII– <–> VI–
It is noteworthy that even though USTs work over two different keys a tritone apart they will never provide the same degree of tensions. They often differ by just a semitone, e.g. UST II consists of 9, #11, 13 whereas the relative UST bVI consists of b13, 1, #9.
Figure 29 shows all corresponding USTs over Tritone substitution in the keys of C7 and F#7.
Corresponding USTs in the keys of C and F# - notated (Levine, 1989 p.119, edit: Hannah Koppenburg) Figure 29 34
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Examples of the use of USTs in jazz piano in a chronological
Order
“I’ll never forget the day I discovered my first upper-structure-triad back in 1960.”
(Hal Crook, 2011)
The first transcriptions including USTs can be found in the 50s. USTs emerged during the bebop era as bebop players started pushing boundaries by including altered, melodic/ harmonic minor and/or diminished scales.
This section is organised chronologically starting from the 1950s up to the current days. Each transcriptions analysis contains the most important material related to USTs.
(Appendix E2 p.4 b.58-60) Figure 30
(Edstrom, 2004 p.55 b.5-8) Figure 31
36
Composer Art Blakey
Title Moanin’
Pianist Bobby Timmons
Year of recording 1956
USTs used V–, bIII– (second inversion)
Tonality subV7/II - V7/V - V7 - Im - subV7/II - V7/V
Context Piano solo
Characteristics Chromatic approach of USTs over an advanced cycle of fifth, containing tritone substitution. Voice leading, chromaticism
Composer Bill Evans
Title Five'
Pianist Bill Evans
Year of recording 1956
USTs used #IV, bVI, bIII, bIII– (first inversion)
Tonality Dominant seven, chromaticism
Context Piano solo
(Appendix E1 p.13 b.254-157) Figure 32
Composer John Coltrane
Title Giant Steps’
Pianist Tommy Flannagan
Year of recording 1959
USTs used V, V–, VI–
Tonality II-V-I in three key centers (tri-tonic-system)
Context Piano solo
Characteristics Very Spacious
same degree of USTs but over di!erent key centres
(Patton, 3013 p.242 b.30-32) Figure 33
38
Composer Sonny Clark
Title ‘Something Special’
Pianist Sonny Clark
Year of recording 1961
USTs used VI, VI–, II– (2nd inversion)
Tonality Dominant seven
Context Comping
Characteristics Alternation between VI and VI– (b9) - makes it
(Wise Publications, 2006 p.27 b.121-122) Figure 34
Composer Bill Evans
Title Waltz for Debbie
Pianist Bill Evans
Year of recording 1961
USTs used V– (first inversion)
Tonality Minor seven, dominant seven
Context Solo
(Edstrom, 2004 p.32 b.14-15) Figure 35
40
Composer Bill Evans
Title Time Remembered
Pianist Bill Evans
Year of recording 1963
USTs used II, bVII, V- (arpeggiated)
Tonality Minor seven
Context Solo
Characteristics USTs over sequence,
Overlapping USTs (II, bVII to create US seven chord)
(Hancock, 2002, p.36) Figure 36
Composer Herbie Hancock
Title Maiden Voyage
Pianist Herbie Hancock
Year of recording 1965
USTs used bVI, #IV (2nd inversion)
Tonality Minor seven
Context Solo
(Tymoczko, 2015 p.8 b.71-72) Figure 37
42
Composer McCoy Tyner
Title ‘Blues on the Corner’
Pianist McCoy Tyner
Year of recording 1967
USTs used #IV, bVII–, bIII–, bII
Tonality Minor seven, dominant seven
Context Solo
(Hancock, 2002 p.17) Figure 38
Composer Herbie Hancock
Title ‘Butterfly'
Pianist Herbie Hancock
Year of recording 1974
USTs used V–, I– (root position)
Tonality Dominant seven
(Edstrom, 2004 p.46 b.57-60) Figure 39
44
Composer Bill Evans
Title ‘Turn Out The Stars’
Pianist Bill Evans
Year of recording 1980
USTs used IV, V, bVII, V
Tonality Dominant seven, major seven, dominant 7
sus
Context Solo
(Hancock, 2002 p.43) Figure 40
Composer Herbie Hancock
Title ‘Round Midnight’
Pianist Herbie Hancock
Year of recording 1986
USTs used bVI, V–
Tonality Minor V-I
(Appendix E3 p.9 b.137) Figure 41
46
Composer Brad Mehldau
Title ’50 Ways To Leave Your Lover’ (Paul Simon
Cover)
Pianist Brad Mehldau
Year of recording 2005
USTs used II (arpeggio)
Tonality Major
Context Solo
Conclusion
This study was set out to explore the theoretical and practical application of upper structure triads in different contexts within jazz piano including comping, voice leading and soloing.
USTs are widely used but especially in jazz piano they are very common and applied “all the time […] in virtually every piece I play” as Jason Rebello said in my interview with him (appendices B3). USTs seem more applicable in piano, rather than other harmonic instruments like guitar. As a guitarist it is often ambiguous whether it is a UST, a slash chord or polychord since the harmonic information of the left hand voicings are not implied.
All examples shown in the discussion provide a broad sense of how and where USTs are applied. It shows that USTs work particularly well over dominant seventh chords since they contain the biggest choice of USTs, but they also work perfectly over major and minor and can therefore be readily applied over II-V-Is in jazz.
Interviewing a few different jazz pianists - besides transcribing and analysing different solos and comping of musicians - gave me a greater insight into how USTs are actively used in jazz piano. Most pianists apply USTs in their playing, some like Jason Rebello or Dave Clement-Smith use them purposefully often, others, like Dave Mackay or Taylor Eigsti say that they use USTs, but rarely think of them (appendices B2, B4). “They happen very much in the moment, usually due to a particular direction I might be taking at the moment in terms of internal voice leading” so Eigsti (appendix B4) in the interview or, with the words of Suzanna Sifter “I don't think the improvisors specifically think "UST bVII" ! But they hear it, then play it” (appendix B1).
The conventional approach of voicing chords and soloing over them is usually coming from the actual chord scale. This means the player identifies the chord and the related scale(s) that could be played over it. Then chord-voicings can be built or a solo can be constructed by using the notes of the appropriate scale. In this whole process there is a constant thinking involved, the player is always aware of the scale and related tensions. This also provides freedom and the option to play every note of the scale in whichever
Also, when playing USTs the musician uses the memorising side of the brain rather than the creative side.
In biological terms it is called the procedural memory, based on learning motor skills which are then recalled subconsciously. Once the musician has practiced the USTs and knows where the different degrees of the scale are, it is just an application process. At the same time this limits the possibilities slightly for improvisation since the musician primarily has only three notes available instead of a whole scale .8
The purpose of USTs is to enrich simple voicings by adding tensions, “specifically stacked harmonies or implying an imbedded harmony on top of another” says Eigsti.
Alternatively USTs can be seen to simplify complex voicings by breaking them down into smaller pieces. Sifters outlook on it is “the entire point of my UST book is to create a method for students to perform in the jazz idiom! It is not at all a theoretical pursuit for intellect only. Students come through the class much better at comping in a jazz setting.”
USTs are used as much in soloing as in comping as “melodic anchor” (Rebello). However, USTs are always correlating with other improvisation or comping concepts and therefore are an addition to conventional playing.
To summarise USTs are a great tool to embellish but at the same time to ease jazz piano voicings in many different contexts. Since I have been studying the theoretical and practical application of USTs and using them in my own practice and performance I have certainly advanced my playing. My practical project is an outline to demonstrate the utilisation of USTs in my own improvising on different jazz arrangements. I am certain that USTs are a remarkable concept on analytical and practical basis, not only for pianists, but also for any other musician, since they can be applied in many different ways and help develop everyones playing.
As Taylor Eigsti says: “usually I would use that kind of a sound to make a chord sound like a stained glass window, or a bright sunrise moment, for lack of a less-nebulous
explanation”
providing the musician only plays the UST at first and no chromatic approach, etc. 8
Recommendations for further study
For further studies I will get a more in-depth look into USTs in the context of harmonising and re-harmonising melodies, not only in a voice leading form as shown in my discussion. I will try to find out more about the history of USTs, who first ‘came up’ with this concept and when they started to be actively applied.
During my interviews the use of USTs in 80s soul R&B and gospel got mentioned a few times, therefore I would have liked to analyse those genres as well, even though it is used “mainly in jazz” (Mackay, 2015) as all my interviewees agreed on.
Another wide topic of applicable USTs is in arrangements of Horn, Woodwind, Brass and String sections. They are particularly suitable since they are often in three or four part harmony and therefore ideal for the usage of USTs and also because USTs “can be played melodically as well as harmonically” (Sifter, 2015).
To sum it up with a quote of Herbie Hancock:
References
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Alldis, D. (2000) A Classical Approach to Jazz Piano: Exploring Harmony. Hal Leonard-
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Crook, H. (2011) Berklee Jazz Keyboard Harmony - Using Upper-Structure Triads. Boston: Berklee Press.-
Crook, H. (1991) How To Improvise - An Approach To practicing Improvisation. Advance Music.-
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Moehrke, P. (2007) Jazz Piano - Voicing Concepts (English and German Edition). AMA Verlag.-
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Davis, M. (n.d.) BrainyQuote.com. Available at:www.brainyquote.com/quotes/quotes/ m/milesdavis384162.html. Accessed: 5th July, 2015.-
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Edstrom, B. (2004) Bill Evans: A Step-by-Step Breakdown of the Piano Styles and Techniques of a Jazz Legend (Keyboard Signature Licks). 1 Edition. Hal Leonard.-
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