Thinking in Context: How to Name Upper Structure Chords
What was the question?
Didier asked a precise theoretical question: When playing upper structure chords (for instance, an E minor triad over a C Major shell), do you mentally consider them as "E Minor," or do you still think of them as "C Major without the root"? [51:15]
The core idea (in plain English)
You shouldn't think of the chord name in isolation; you should think about the movement.
While E minor is technically the upper structure of C Major, thinking "E Minor" might not be helpful if the next chord requires a conflicting movement. However, if the voice leading naturally flows from that position to the next, the name matters less than the destination. The voice leading dictates the meaningful name of the chord structure. [51:52]
Fretboard breakdown (what to play)
Consider a Dm7 -> G7 -> C progression:
On Dm7: You might play a shape that looks like Dm7(b5) or F Major because you are coming from a previous chord (like DbMaj7).
Transition: As you move the voices to G7, the shape might naturally turn into a Diminished structure.
On C Major: You resolve to an E Minor shape.
The Logic: You aren't thinking "Now I play E Minor." You are thinking: "These two notes from the G7 dim shape need to come down a half step." That movement results in an E minor shape. Follow the moving notes, not just the chord labels. [54:10]
Common mistake to avoid
Don't get stuck on the static name. If you stare at a C Major chord and think strictly "E Minor," you might play lines that don't transition well into the next chord (like C Minor). Always look at where the chord is going (e.g., C Maj to C min) to decide which upper structure allows for the smoothest connection. [52:51]
A 10-minute practice assignment
Take a II-V-I in C. Instead of playing full chords, play only the guide tones (3rd and 7th). Watch how they move by half-steps. Now, add one note on top to create a triad. Focus entirely on moving that top note smoothly to the next chord, regardless of what "chord name" it creates. [54:48]
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