Triad inversions and upper structures
Master compact three-note shapes in every inversion, then use them as transparent upper structures over bass notes.
Interactive listening
Hear the harmony in time
Compare the examples at one tempo.
C major through three inversions
The same three pitch classes rotate so a different chord tone occupies the bass each time.
G triad over C
G–B–D over a C bass produces Cmaj9 without a third: an open upper-structure colour that leaves room for another instrument.
Watch it in context · Jens Larsen
Triads - How To Make Them Jazz Chords
See familiar triads become compact jazz voicings through inversions, extensions, and practical voice leading.
Open on YouTube (opens in a new tab)Three notes, three orientations
A triad has root position, first inversion, and second inversion depending on which chord tone is lowest. On guitar, learn each orientation on adjacent three-string sets rather than treating one open-position shape as the chord.
Triads are agile because one note can move while two remain fixed. They also avoid the low-register congestion that can occur when guitar, piano, and bass all state complete seventh chords.
Hear a triad against a different bass
An upper-structure triad takes its meaning from the bass and musical context. G major over C supplies G, B, and D: the fifth, major seventh, and ninth of C. Without E it is specifically Cmaj9(no 3), not a complete Cmaj9 voicing.
Keep the label honest about omitted defining tones. In an ensemble, a bassist, pianist, or melody may supply them; in solo guitar, you may need to add the third or establish it in the preceding chord.
- Learn major, minor, diminished, and augmented triads separately.
- Name the lowest and highest notes of every inversion.
- Move one voice at a time to discover nearby upper structures.