Stevie Wonder Upper structure Triads tutorial
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- Опубліковано 13 вер 2024
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Thanks to Anna Delaney for the voice!
correction: 5.19 - the top A SHOULD have a natural sign!
Ab7/F one of the prettiest chords ever, Stevie has theory chops, his songs are a perfect melding of jazz, soul, pop.
Ab7
------
F
Otherwise you are saying that you should play an Ab7 with the bass on F
Great Analysis and examples!
DM7 D/C7 is also used by Vince Guaraldi in "Christmas time is here"
Rick Rogers Good Call
Different key (FMaj), but yes!
Absolutely what I heard with the 3rd example, D/C7 :))
Thats exactly what I heard just down 2 semitones
Nick, you are the best music teacher I have ever had!
not saying much hahah. cheers!
Awesome video! Stevie's "That Girl," and "Smile Please" also feature great upper extension triad uses. A Time To Love is a great album.. I'm happy to see you show it some love.
I swear to God, Nick - Your teachings give me goose bumps!
That D triad over CMAJ7 man, that sound is the cure!
I swear to god Pepe your comments give me goose bumps too!
now now boys
Stevie - what a fabulous musician and composer
Thank you so much for your clear incisive teaching!! I love Stevie Wonder's music AND your great explanations.
BTW, you also do a great "Little Boy asking about Jazz Harmony" voice. I even came up with a name for him: "Little Boy Blues"
With gratitude...
I want to give you, Jazz Duets, a big thank you for making me aware of this particular theoretic term. I have been very recently forming a list of songs which feature examples similar to Stevie's 'Make Sure You're Sure' but had no clue what to formally call it. I can finally seek out more tracks akin to this through theory and not by ear alone. Thumbs up on the great work and effort behind this and every other video you put up.
That last example is beautiful!
You are taking me back to my Berklee College of Music days when I came to know what I really wanted to KNOW! Thanks! : )
Pure gold!
Thank you for these little, priceless lessons.
The amount of information in this video is overwhelming...so great.
I don't know if this has been said yet, but Nick, your a genius! Thank you for enlightening us.
this opened up a whole new continent to me. Thanks!
Just brilliant again maestro.Thank you for this upload.
Thats an eye opener
Wow, 2:33 Gmaj7 to D/C7 Pure heaven! Thank you for pointing that out. I'll use it more.
I've been working on Triads for guitar for some weeks now. It has really helped me understand the fretboard!
I will be honest, I have no musical training so I have no idea what you are talking about.. all I know is that Stevie Wonder has been my favorite singer songwriter since I was a kid and I always wondered what made his music so captivating.. now I understand there is a whole lot of technical reasons for why his chords sound so unique and amazing.. I wonder if this is mainly natural talent or rather he studied in depth the theory of music to come up with these progressions, I suspect the answer is BOTH
Yes :)
At 2:25... Those changes are basically what you find in the first part of the melody/chords in On A Clear Day. Great post!
Nice presentation!
i dunno i think its easier to write out the extensions instead of 2 triads...but this excersize is very instructive and helpful for me to understand the concept
Yay!!! More Stevie!!!
Great video, as usual!
Best music channel on youtube. Bless ya
Tremendous work. Valuable knowledge. Thank you👍
Awesome lesson bro 😊👍🏾
Another incredible lesson!! :)
Amazing!
Hoping to see more practical applications of these to apply these to original compositions.
Very well explained and executed...love your work Nick!
Okay, this video just made me so happy, honestly. So glad to have found this amazing channel :)! Thank you :)!
So interesting, and such a well-made clip. Thanks for demystifying this for us.
If you like chromatic jewelry.... the ascending dyads in the intro of "You Are The Sunshine Of My Life" are **chefs kiss**
Great lesson as always. I have to say though on the guitar these chords give me a headache. I much prefere everything related to the root. Love your content, its so inspiring!
As usual a very valuable and usable lesson that really opens things up, no wonder I subbed. (No pun intended)
the D/G#7 E/G#7 it's also used ''in Do i do'' as a D/F#7 C/F#7
Great video! Thank YOU!!!!!!!🙌
Excellent description.
Tottaly love it. We can hear this on Wayne Shorter´s "Infant Eyes" too.
Not used to saying "Flat 7th". I usually hear just "7th" unless it's major. Great stuff! It makes me want to experiment with my piano again. Mostly the augmented 5th and the flat 9 make things stretchy for me, so if you find ways to put those in, you get a soup of nonsense? That's why I enjoy all these videos as they make me want to experiment and try new things especially for solos.
Great video, thanks for sharing!
No doubt this is one of the most interesting channels on youtube ! Congrats man. Thank you. And, it would be great if you do some live workshops once a month !
Man I’m so glad I found this channel. One of my passions is music analysis but my knowledge of theory is really low. Could you please explain that Fm chord in the chorus of Sir Duke (when its in B). Thanks a lot! I love Stevie by the way
Eze Thomas SAME
That Gmaj7 to the D triad over C7 sounds like "Christmas time is here" to me
Very useful for me.
Excellent!!
there are studies of alternating triads too, great clear lesson as usual.
yeah , I made 3 videos on that!
Jazz Duets , great!
This is awesome!
Great analysis. There's one in "Knocks me off my feet" also, 2nd measure of the chorus / C# major triad over E bass, I think.
Amazing video
Great stuff, thanks!
love it!thank you!
it's really helpful. thanks !
Gold
such great vids, thank you!
As i understood, the upper structures are a triad over a tritone, not over other chord, that would be polychords
Oooo, fantastic :) ... Always get a LOT from your videos :)
One question: Instead of using the 'altered degree' notation on a chord (using, say 9#11), is it a 'standard' to use the "A/Eb" ( not a bass note - I can't draw horizontal lines here :D ) - the 'A triad over Eb triad' - in manuscript/chord charts? I see it almost like the 'Figured Bass' that was used during the Baroque period...
Thank you, man!
Un bon musicien
Brilliant, thanks for sharing.:)
Lovely stuff! A lot of these example polychords show up as tritone versions (i.e. with the 1 and 5 dropped from the lower chord, leaving just the 3 and flat 7).
Amazing
Thanks!
Great video! Have you posted a video about when to avoid playing the fifth yet? I look forward to seeing it!
I wouldn't have thought salad would have been a good luxury topping on a pizza hahaha. Really informative video though, thanks!
Hi Nick, incredible video as always. Correct me if I'm wrong but I'm pretty sure Stevie used the exact same E/G#7 to D/G#7 in Smile Please at the end of each verse.
Fantastic video. Do you have more upper-triad lessons? Thanks
The changes of Kapustin Concert Etude No.4 make me extremely curious about what has the composer done exactly. As I could hear some structures based on forths, rootless chords, and a lot of outside playing. I really enjoy the vague and misty feeling of it and try to imitate, but could not ring the bell. I would really appreciate it if you could make a simple analysis. But it's alright if you ignore it since I understand there is no point to ask things for free. Thanks for your videos as always!
THANKS!!!!!!
There is a sound nobody talks about. Bmi/Cmi. (B D F#/C Eb G). (7 9 #11/1 b3 5). Some call it Lydian Diminished. I call it Melodic Minor #4.Commonly heard in Allan Holdsworth compositions. Cheers.
at 5:38 there's a Db2/Eb in "Can't Imagine Love Without You" I feel like you missed an opportunity to talk about something really cool happening with that chord, just because it may overcomplicate the average viewer, but us more advanced viewers want that explained too! I've never seen a slash chord with a 2 in the first chord.
That Db2 chord is essentially the same as an Dbadd9, it’s just describing a specific voicing where the Eb is clustered down between the Db and F instead of above.
Thats the way to work with mainly Dominant seventh Chords.
I'm trained in classical harmony and counterpoint, and I have trouble relating to this vocabulary. It's all vertical, no voice leading. You have chords like sus4 - but a suspension is a note held over from the previous chord, and isn't really part of the harmony. Chopin uses a lot of 13th chords, but he usually leaves out the 11th and the 13th can be heard as an appogiatura over the 9th. A dim7 chord is most often heard as a 9th chord with the root omitted, so DFG#B is can be heard as an E, G, Bb or C# maj9th, making it a great pivot chord for modulation. In other words, in classical analysis chords aren't taken in isolation, but the meaning of a note depends on its horizontal context. I appreciate that all this has to do with resolving dissonance, while jazz loves unresolved dissonance, but still, there must be some horizontal analysis to get smooth voice leading.
I feel sorry for you as in all those words I feel the profoundness of Stevie's music that lifts the human condition was lost on you. I heard the following words and I feel they are apt and can lead to a better place:
"you can never look at the absence of something and feel good.
you cannot look at lack and be in alignment
you cannot criticise and be in alignment with who you are'
I can hear and enjoy the music, but the theory baffles me.
I think you might be suffering from what I refer to as the Chicken/Egg question in music.
" 'Hell, there are no notes to a banjo. You just play it.' ... by an old-time banjo picker, interviewed around 1850, and asked if he could read music."
Probably no one playing the banjo ever considered that someday a musical scholar would analyze the pickin' and determine it had a classical form.
I remember someone saying that there were mothers before there were doctors. Say here...
Obviously, practice comes before theory. Theory doesn't tell you how to write music or play it, it just tells you what seems to have worked best for musicians in the past. You can start from ground zero, but you see further if you stand on the shoulders of giants. For that matter, your old-time banjo picker must have heard a lot of banjo picking before he picked up a banjo.
Thank you I love poly chords I think it's what they're called I also think they're called something else
Is there any theoretical or systematic way to know what upper structure triads will sound good with the bottom 7 chords ?
if i had to guess, and i may be wrong, but I think Stevie would sit down and just start playing triads in both hands and moving them around until he had something…..it looks complex on paper with the crazy extended chords but I doubt he Wondered about that stuff….
youre missing the point i think
No, not at all actually. He thought about those extensions first (which are actually very easy) and then tried to voice them in a nice way, thus using this upper structure voicing. Very common stuff in jazz.
goddammit, I wish my guitar had 10 strings
And 10 fingers on one hand
Whats the science behind this? Any rule to which triad come over what ?
If its magic might be my favourite song from 'songs'! So is that essentially a B Mixo b2 scale leading to the E major where you'd expect an E minor?
there is some rule to contruct upper structures?
1:35
The A/Eb going to Ab was like a tritone?
Aren't these just polychords, not upper structure triads? Upper structure triads contain triads above *tritones*, not regular chords, as far as I know.
the examples are above tritones.😀
OHHHH you just added the other chord tones haha
What happen if I put D by my guitar on the sound of CMaj7 of other instruments in the band while playing without prior inform?
How do you differentiate between upper structure triad and a hybrid chord/ normal over chords?
For the last example (If it's Magic), my sheet music called the chord "B13b9" instead of "Ab/B7", which appears to be equivalent. What are the pros & cons in thinking of the chord in either way?
The B13b9 is technically the correct chord voicing. To me, it sounds fuller with low note A voiced with the G# 1st inversion triad above it. But if I follow the initial voicing with a roll up to the high octaves, it's a bit less mess (especially with my ham-fisted technique) to roll the G#Maj triad.
I hope that makes sense. 🤔
3:19 Jazz ppl know this as a Ab7#5#9
You are incorrect. This is Ab13b9.
Do NOT put that salad on that pizza!
Fuck this makes me want pizza.
The Charlie Parker quote is great but iirc, Miles and Charlie were the only 2 to regularly study theory according to Miles autobiography
But, wait, we have the same father?
wow hal leonard got it ALLL WRONG