Unlocking 'The Girl from Ipanema': Upper Structure Triads & Superimposition
Beyond Root-Based Thinking
To advance as a jazz guitarist, you must break the habit of chasing roots. Since the bassist is already defining the root, playing root-heavy arpeggios is redundant. In complex tunes like The Girl from Ipanema or Dolphin Dance, the key to fluid soloing lies in Upper Structure Triads (UST) and Superimposition. Through these concepts, we can navigate complex modulations by seeing simple shapes floating above the basic chords.
The Girl from Ipanema (Section B)
Let's look at the B section: Gbmaj7 - B7 - F#m7.
• Gbmaj7: Instead of just playing a Gb scale, think Ebm7 (the vi chord). Playing an Ebm7 arpeggio over Gbmaj7 highlights the 6th, major 7th, and 9th, creating a richer sound used often by Wes Montgomery.
• B7 (The Superimposition): This B7 acts as a dominant chord. While you could play Mixolydian, a more modern approach is to superimpose an A Major Triad or A Major 7 arpeggio over it. Why? The notes of A Major (A, C#, E) provide the 7th, 9th, and 11th of the B7 chord. This creates a specific "Lydian Dominant" sound without thinking about scales.
• F#m7: Similarly, playing Amaj7 over F#m7 yields an F#m9 sound. Notice the pattern? You can navigate the B7 to F#m7 largely by thinking in A Major ideas.
Voice Leading with Common Tones
Another advanced technique discussed in the livestream is Common Tone practice. Try to solo through the changes maintaining a single note (or moving it only by half-steps) as the top note.
• On Gbmaj7, play Eb (the 6th).
• On B7, play D# (the 3rd, enharmonic to Eb).
• On Fm7, play Eb (the 7th).
By anchoring your lines on these guide tones, you create melody rather than just running changes.
Simplify the Complexity
Advanced improvisation isn't about making things harder; it's about simplifying complex harmony into manageable shapes. Instead of seeing Fm - Bbm, see the upper structures like Ab Major or Db Major superimposed over them. This perspective allows you to float above the harmony with melodic intent. For deeper harmonic analysis, visit VoiceLidJazzGuitar.com.