Ab7/F one of the prettiest chords ever, Stevie has theory chops, his songs are a perfect melding of jazz, soul, pop.

Great Analysis and examples!

DM7 D/C7 is also used by Vince Guaraldi in "Christmas time is here"

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.

Stevie - what a fabulous musician and composer

Nick, you are the best music teacher I have ever had!

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.

I swear to God, Nick - Your teachings give me goose bumps!

Pure gold! Thank you for these little, priceless lessons.

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...

The amount of information in this video is overwhelming...so great.

You are taking me back to my Berklee College of Music days when I came to know what I really wanted to KNOW! Thanks! : )

I don't know if this has been said yet, but Nick, your a genius! Thank you for enlightening us.

Wow, 2:33 Gmaj7 to D/C7 Pure heaven! Thank you for pointing that out. I'll use it more.

this opened up a whole new continent to me. Thanks!

That last example is beautiful!

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

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

Just brilliant again maestro.Thank you for this upload.

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!

Thats an eye opener

Okay, this video just made me so happy, honestly. So glad to have found this amazing channel :)! Thank you :)!

Great video, as usual!

Best music channel on youtube. Bless ya

If you like chromatic jewelry.... the ascending dyads in the intro of "You Are The Sunshine Of My Life" are **chefs kiss**

Amazing! Hoping to see more practical applications of these to apply these to original compositions.

That Gmaj7 to the D triad over C7 sounds like "Christmas time is here" to me

Tottaly love it. We can hear this on Wayne Shorter´s "Infant Eyes" too.

Yay!!! More Stevie!!!

Very well explained and executed...love your work Nick!

So interesting, and such a well-made clip. Thanks for demystifying this for us.

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.

Another incredible lesson!! :)

As usual a very valuable and usable lesson that really opens things up, no wonder I subbed. (No pun intended)

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 !

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!

the D/G#7 E/G#7 it's also used ''in Do i do'' as a D/F#7 C/F#7

Nice presentation!

Tremendous work. Valuable knowledge. Thank you👍

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

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.

Awesome lesson bro 😊👍🏾

there are studies of alternating triads too, great clear lesson as usual.

Excellent description.

Very useful for me.

Great video, thanks for sharing!

This is awesome!

Great video! Thank YOU!!!!!!!🙌

Excellent!!

Amazing video

love it!thank you!

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).

it's really helpful. thanks !

Thank you, man!

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...

Great stuff, thanks!

Brilliant, thanks for sharing.:)

such great vids, thank you!

I wouldn't have thought salad would have been a good luxury topping on a pizza hahaha. Really informative video though, thanks!

Un bon musicien

Thanks!

Amazing

As i understood, the upper structures are a triad over a tritone, not over other chord, that would be polychords

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.

Great video! Have you posted a video about when to avoid playing the fifth yet? I look forward to seeing it!

Gold

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.

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!

Thats the way to work with mainly Dominant seventh Chords.

Fantastic video. Do you have more upper-triad lessons? Thanks

Thank you I love poly chords I think it's what they're called I also think they're called something else

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.

THANKS!!!!!!

goddammit, I wish my guitar had 10 strings

Is there any theoretical or systematic way to know what upper structure triads will sound good with the bottom 7 chords ?

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.

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….

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?

Do NOT put that salad on that pizza!

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?

Whats the science behind this? Any rule to which triad come over what ?

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?

there is some rule to contruct upper structures?

How do you differentiate between upper structure triad and a hybrid chord/ normal over chords?

The A/Eb going to Ab was like a tritone?

1:35

3:19 Jazz ppl know this as a Ab7#5#9

Fuck this makes me want pizza.

Aren't these just polychords, not upper structure triads? Upper structure triads contain triads above *tritones*, not regular chords, as far as I know.

But, wait, we have the same father?

The Charlie Parker quote is great but iirc, Miles and Charlie were the only 2 to regularly study theory according to Miles autobiography

wow hal leonard got it ALLL WRONG