Upper Structure Major Triads

m.j.mermikides@surrey.ac.uk
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 the
bass 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 to
learn 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.
C D¨/C D/C

w w #w
& w
w bbw
w w
w
? w w w
Alternative spelling: C Dbmaj7 3rd inv. D7 3rd inversion / Cmaj13(#11)
Intervals from root: (R, 3, 5) (b9, 4, b6) (9, #4, 6)
Modal implication: C Ionian C Phrygian C Lydian

{
E¨/C E/C F/C

bw
w #w
w w
w
& w
b w w

? w w w
Alternative spelling: Cm7 / Eb6 3rd inv. Cmaj7#5 F 2nd inv. Csus6
Intervals from root: (b3, 5, b7) (3, #5, 7) (R, 4, 6)
Modal implication: C Aeolian etc. C Lydian #5 C Ionian

{
G¨/C G/C A¨/C

& bbbw w w
w
w w
w bbw
w
? w w w
Alternative spelling: C7alt C maj9 (no 3rd) Ab 1st inv. Cm(b6)
Intervals from root: (b9, b5, b7) (9, 5, 7) (R, b3, b6)

{
Modal implication: C Altered C Ionian / Lydian C Aeolian etc.

A/C B¨/C B/C

& #w
w bw
w
w
#w
#w
w
w
? w w w
Alternative spelling: C6(b9) / A7#9 4th inv. Csus9 Cm(maj7(#11)) Ab7(#9) no root
Intervals from root: (b9, 3, 6) (9, 4, b7) (b3, #11, 7)
Modal implication: C Major b9 C Mixolydian C Melodic Minor (#11) or
Double Harmonic Minor
©2011 Milton Mermikides
 2
Upper Structure Minor Triads
m.j.mermikides@surrey.ac.uk

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

{
C‹ D¨‹/C D‹/C

bw
& w
w bbbw
w
w
w
w
w
? w w w
Alternative spelling: Cm Dbm(maj7) 3rd inv. C(b6/b9) Dm7 3rd inv. Csus(69)
Intervals from root: (R, b3, 5) (b9, 3, b6) (9, 4, 6)
Modal implication: C Aeolian etc. C Phrygian Dominant C Ionian / Mixolydian

{
E¨‹/C E‹/C F‹/C

bbbw
w w
w bw
w
& w w w

? w w w
Alternative spelling: Cm7(b5) / Ebm6 3rd inv. Cmaj7 F 2nd inv. / Csus(b6)
Intervals from root: (b3, b5, b7) (3, 5, 7) (R, 4, b6)
Modal implication: C Locrian C Ionian / Lydian C Aeolian etc

{
F©‹/C G‹/C A¨‹/C

& #w bw
w bbbw
w
#ww w w
? w w w
Alternative spelling: C6(b9/b5) C9 (no 3rd) Ab(#9) 4th inv. Cm(maj7)(b6)
Intervals from root: (b9, b5, 6) (9, 5, b7) (b3, b6, 7)
Modal implication: C half/whole diminished C Mixolydian / Aeolian etc. C Harmonic Minor

{
A‹/C B¨‹/C B‹/C

& w
w bbw
w
w
w
#w
w
w
? w w w
Alternative spelling: C6 / Am 1st inv. Csusb9 C(maj9(#11)) no 3rd
Intervals from root: (R, 3, 6) (b9, 4, b7) (9, #11, 7)
Modal implication: C Ionian etc. C Mixolydian(b9) C Lydian
C Phrygian/ Phrygian Dominant

©2011 Milton Mermikides

 Upper Structure 7th Chords 3
m.j.mermikides@surrey.ac.uk

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

{
E¨Œ„Š7/C E‹7/C E‹7(b5)/C

w w bw
& bbw
w
w w
w
w w
w
w
? w w w
Alternative spelling: Cm9 Cmaj9 C9
Intervals from root: (b3, 5, b7, 9) (9, 3, 5, 7) (9, 3, 5, b7)
Modal implication: C Aeolian etc. C Ionian / Lydian C Mixolydian

{
G¨7/C G‹7/C G‹7(b5)/C GŒ„Š7/C

bw w w #w
& bbbw
w
w bw
w
w bbw
w
w w
w
w
? w w w w
Alternative spelling: C7alt Csus9 Csus(b9) Cmaj9(#11) no 3rd
Intervals from root: (3, b5, b7, b9) (4, 5, b7, 9) (4, 5, b7, b9) (#4, 5, 7, 9)
Modal implication: C Altered C Mixolydian C Mixolydian (b9) C Lydian
C Phrygian
C Phrygian Dominant

{
B¨Œ„Š7/C B¨7/C B¨‹(Œ„Š7)/C B7/C

& w bw w ##w
bw
w
w bw
w
w bb w
w
w w
w
w
? w w w w
Alternative spelling: Csus(9/13) Csus(9/b13) Csus(b9/13) Cdim7(addmaj7)/ B7(b9) 4th inv.
Intervals from root: (4, 6, b7, 9) (4, b6, b7, 9) (4, 6, b7, 9) (b3, b5, 6(bb7), 7)
Modal implication: C Mixolydian C Mixolydian b13 C Mixolydian b9 C Whole/Half Diminished

Enjoy.

©2011 Milton Mermikides