Hey Jazz Guy - Upper Structure Colors

Hey Jazz Guy, Try this today...using upper structure triads as colors with which to expand your harmonic existence. By Jake Hertzog

www.jakehertzog.com

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[Fitzliputzli23]

Your playing sounds really hip but I don't get the concept: What is the pattern behind building major chords like E G# B and then again you build minor chords like F# A C# and then you come up with a major7 (F#, A# C# and F)? Neither of those consists exclusively of "natural thirds" as you say and neither of them consists of scale notes or have any link to the overtone-row you started with. Do you decide this arbitrarily?

[jakehertzog]

@Fitzliputzli23 Thanks for reaching out! The idea here is to rely on the inherent sonic strength of major and minor triads. So by introducing the diatonic notes you establish a harmonic zone (I'll do a book on this someday lol) and by introducing "out" notes and triads you break that zone, so you must you something strong. So you build a strong major or minor triad on a note that is already in the the key. Hence EMaj. F# min (or Maj!) works off the C Lydian. Hope that helps...jazz hard!

[Fitzliputzli23]

@jakehertzog Well, I think it is dawning to me. The trick is to "violate" the diatonic boundaries by using chords with out-notes (3rd, 5th or 7th) as long as their roots are in-notes. Assumed these chords are plain, strong and not too plurivalent (no tension notes or chromatic glue inbetween) our ear "buys" it, right? And the higher in pitch the more tolerant is our ear to accept these out-harmonies against a given diatonic foundation, right? Thanks, you've opened a new door!

[jakehertzog]

@Fitzliputzli23 You got it! Its a very interesting concept but totally works.  Dave Leibman is a master at this! Jazz Hard my friend! - jh

[Albigatnz]

is this the Giant steps concept? Love your work man!

[jakehertzog]

@Albigatnz Hey thanks for reaching out! Its not a giant steps concept per say, but certainly can be used as one. Glad you dig...will do a coltrane changes thing at some point for sure :-) jazz hard! -jh

[AmundLauritzen]

Amazing how you play that stuff. Takes me forever just to visualize 2-3 outside triads in a row. How would you practice this on a standard? Also, I didn't quite get how you structure it. Do you have set patterns or formulas you follow for the triads? The sound reminds a lot of a triad concept by a good tenor player whose name I don't remember right now. He'd play a triad, continue with one or two chromatic notes and then base a new triad off that, any inversion. Anything like that?

[ShunOne]

Thanks a bunch for this. After hearing an explanation it all clicked for me on how to apply this to my playing. I like the way you explained this.

[docbobster]

Interestingly, Garrison Fewell teaches something similar but alternates major and minor triads built from the first 6 extension notes (e.g., on Gmin, he builds Gmin, Bb maj, D min, F maj triads). Your (Jake's) way seems more outside, because the triads are all built from the first 6 extension notes. But both seem to work, offering a lot of possibilities.

[Intenzity]

@jakehertzog So do you mean "major" thirds for all natural 3rds? Why is the D - F# a major third (and not in C major), and the A - C# a major third (also not in the key of C..or G for that matter if you are treating the C as a iv of G to get the first F#) but then the F natural - Ab goes back to minor. I just don't see the pattern or when to use a major third or a minor third. Perplexing. Utterly cool and nice, but just perplexed as to how you derive these.

[Albigatnz]

Thanks so much for this man, makes all the difference and also when you play it is so fresh! awesome!