Slash Chords
(18 Nov 03)
Putting It All Together
A word on slash chords: First of all, there are a zillion different slash chords, the possibilities are endless. While reading a chart, just do what the chart says, if it tells you to play B/G. that's exactly what you do. The problem is in figuring out exactly what the slash chord translates into. You should try to analyze as many as you can just to get used to looking at them. First you have to figure out whether or not the slash chord in question is just an inverted chord or if it is in root position. If indeed the chord is in root position, the next step is to figure out what extensions the triad is creating in relation to the bass note. While trying to analyze slash chords you will have to use your common sense as well as your theory knowledge, the reason being is that quite often the 3rd and/or 5th are omitted so the slash chord can serve as either minor, major or dominant. The truth is that there may be more than one correct answer for each slash chord. Try analyzing the following slash chords, Possible chord (above) and slash chord (below). Answers at the bottom:
Major Sounds
Major family slash chords: There are basically three different major family slash chords. I tend to use these as my first choice whenever I play any major family chord.
Ex. 1: By placing the major triad a 5th above the bass note we can make a slash chord that works as a maj9 chord.. Ex: you want to make a Cmaj9 chord, simply place a G triad on a C bass note and you'll get a maj9 chord (without a 3rd). G is a 5th above C: G/C = Cmaj9. Check the example below:
Rule: a major triad superimposed a perfect 5th above the bass note will render a slash chord that sounds and functions as a maj9 chord.
Try it yourself: Try putting together the following slash chords using the triad shapes we learned earlier: E/A, B/E, F#/B, D/G, A/D, G/C, C/F.
This slash chord pretty much replaces any major chord. Anywhere you would play a maj7 or maj9 chord, use this one instead. The following example just illustrates how this slash chord could replace the standard I chord in a ii - V - I:
Ex. 2: By placing the major triad a 2nd above the bass note we can make a maj13#11 chord. Ex: you want to make a Cmaj13#11 chord, simply place a D triad on a C bass note and you'll render a major chord that sounds and functions like a maj13#11 chord (without the 3rd, 5th and 7th). D is a 2nd above C: D/C = Cmaj13#11. I tend to think of this slash chord as the "lydian" slash chord because of the #11th. Check the example below:
Rule: a major triad superimposed a major 2nd above the bass note will render a slash chord that sounds and functions like a maj13#11 chord.
Try it yourself: Try putting together the following slash chords using the triad shapes we learned earlier: E/D, C/Bb, G/F, D/C, A/G.
You could argue about what this slash chord actually is; if you analyze it assuming the bass note is the root it looks like a maj13#11 chord but it could also be argued that it is a dominant 7th chord in 3rd inversion (the bass note being the b7th of the chord). Both are correct. That's right this slash chord could replace either a C major chord or a D7 chord. This is one of the gray areas I was talking about in the opening paragraph:
In the example below, the second and last slash chords are our "lydian" slash chords while the fourth chord in the sequence is a 2nd inversion Eb chord:
Ex. 3: By placing the major triad a 3rd above the bass note we can make a maj7#5 chord. Ex: you want to make an Fmaj7#5 chord, simply place a A triad on a F bass note and you'll get a maj7#5 chord. A is a 3rd above F: A/F = Fmaj7#5. Check the example below:
Rule: a major triad superimposed a major 3rd above the bass note will render a maj7#5 chord.
Try it yourself: Try putting together the following slash chords using the triad shapes we learned earlier: F/Db, C/Ab, G#/E, B/G, E/C.
Play the following chord progression, the slash chord in the third measure is our maj7#5 chord. The first and last chord are the slash chords from first example (maj9 functioning slash chords). This example is similar to what Wayne Shorter did in his classic tune: "Prince of Darkness":
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