upper structure chords

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©2011 Milton Mermikides

C D¨/C D/C

E¨/C E/C F/C

G¨/C G/C A¨/C

A/C B¨/C B/C

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As we've seen briefly in Rock & Pop Devices, basic triads - when placed over non-chord tones - can create sophisticated 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 heard - 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 [email protected]

?Alternative spelling:Intervals from root:Modal implication:

C(R, 3, 5)C Ionian

Dbmaj7 3rd inv.(b9, 4, b6)C Phrygian

D7 3rd inversion / Cmaj13(#11)(9, #4, 6)C Lydian

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Cm7 / Eb6 3rd inv.(b3, 5, b7)C Aeolian etc.

Cmaj7#5(3, #5, 7)C Lydian #5

F 2nd inv. Csus6 (R, 4, 6)C Ionian

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C7alt(b9, b5, b7)C Altered

C maj9 (no 3rd)(9, 5, 7)C Ionian / Lydian

Ab 1st inv. Cm(b6)(R, b3, b6)C Aeolian etc.

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C6(b9) / A7#9 4th inv.(b9, 3, 6)C Major b9

Csus9(9, 4, b7)C Mixolydian

Cm(maj7(#11)) Ab7(#9) no root(b3, #11, 7)C Melodic Minor (#11) orDouble Harmonic Minor

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C‹ D¨‹/C D‹/C

E¨‹/C E‹/C F‹/C

F©‹/C G‹/C A¨‹/C


A‹/C B¨‹/C B‹/C

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Here is a list of the implications of every minor triad over a fixed root.

Upper Structure Minor [email protected]


Cm(R, b3, 5)C Aeolian etc.

Dbm(maj7) 3rd inv. C(b6/b9)(b9, 3, b6)C Phrygian Dominant

Dm7 3rd inv. Csus(69)(9, 4, 6)C Ionian / Mixolydian

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Cm7(b5) / Ebm6 3rd inv.(b3, b5, b7)C Locrian

Cmaj7(3, 5, 7)C Ionian / Lydian

F 2nd inv. / Csus(b6) (R, 4, b6)C Aeolian etc

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C6(b9/b5)(b9, b5, 6)C half/whole diminished

C9 (no 3rd)(9, 5, b7)C Mixolydian / Aeolian etc.

Ab(#9) 4th inv. Cm(maj7)(b6)(b3, b6, 7)C Harmonic Minor

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C6 / Am 1st inv.(R, 3, 6)C Ionian etc.

Csusb9(b9, 4, b7)C Mixolydian(b9)C Phrygian/ Phrygian Dominant

C(maj9(#11)) no 3rd (9, #11, 7)C Lydian

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E¨Œ„Š7/C E‹7/C E‹7(b5)/C

G¨7/C G‹7/C G‹7(b5)/C GŒ„Š7/C


B¨Œ„Š7/C B¨7/C B¨‹(Œ„Š7)/C B7/C

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There are dozens of possible seventh chords over non-chord tones, but here are some very effective,and often used examples

Upper Structure 7th [email protected]


Cm9(b3, 5, b7, 9)C Aeolian etc.

Cmaj9(9, 3, 5, 7)C Ionian / Lydian

C9(9, 3, 5, b7)C Mixolydian

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C7alt(3, b5, b7, b9)C Altered

Csus9(4, 5, b7, 9)C Mixolydian

Csus(b9)(4, 5, b7, b9)C Mixolydian (b9)C PhrygianC Phrygian Dominant

Cmaj9(#11) no 3rd(#4, 5, 7, 9)C Lydian

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Csus(9/13)(4, 6, b7, 9)C Mixolydian

Csus(9/b13)(4, b6, b7, 9)C Mixolydian b13

Enjoy.

Csus(b9/13)(4, 6, b7, 9)C Mixolydian b9

Cdim7(addmaj7)/ B7(b9) 4th inv.(b3, b5, 6(bb7), 7)C Whole/Half Diminished

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upper structure chords

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