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Triadic harmony is built from stacked thirds: [1, 3, 5, 7, 9, 11,13]. The records within an octave [1, 3 5, 7] are the foundations of triads and 7th chords. The notes over the octave [9, 11, 13] are tensions. Tensions are especially common in jazz.
Instead of taking into consideration all of them as“stretches” over the typical 7th chords, arranging all of them in to triads that include [1, 2, 3] tensions makes all of them even more workable.
Lower triads consist of [1,3,5] & [3,5,7]. Upper-structure triads consist of [5,7,9; 7,9,11; 9,11,13; 11,13,1, 13,1,3].
Notice that depending on the key, particular notes are certainly not available tensions that may be contained in the UST. When 3 is a small 9th, such as the three to eleven [E to F in C major], that is recognized as distractingly severe, therefore USTs that contains the eleven might generally become prevented.
To notate an UST, a side to side collection isolating the triad from the root chord is an average (though not really universal) design, such since G more than C7, indicating G, W, D more than C, E, G, Bb.
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Construct your USTs simply by considering the chord symbol as well as harmonic context:
1- The key signature.
2- The tune or surrounding chords, to determine the essential of the instant.
3- Stack thirds from your current chords root, using notes diatonic to that current key.
4- Low any kind of small ninths, after which observe what USTs can be found.
All those will be your note resources to get the harmonic area, rather than the scripted chord.
In case you are a pianist, an excellent source of integrating USTs into your playing part is the book Berklee jazz Keyboard Harmony, by Suzanna Sifter, [Check on Amazon here].
By causing USTs second nature, you can include fresh colors to your comping and soloing, what ever your device.
At the end, we hope this post be useful for you.
Did you use upper-structure triads with chord tensions in your music? Please share us your methods in comment box below.