guitar slash chords – Modern Music Theory Improvisation and Application

B/C GUITAR SLASH CHORDS GUITAR LESSON AND EXAMPLES

Please watch video above for detailed info:

Hi guys,

Today, a quick look at the idea of employing slash chords.

To do this we will focus on one specific chord that of B/C.

CHORD VOICING:

In the notation/tablature below, notice the use of a B Major triad over a C bass:

John McLaughlin guitar Slash Chord B/C Example in TAB and music notation

Here, are a few more voicing’s:

John McLaughlin B/C guiatr slash chord example

SOLO LINE EXAMPLES:

This chord works well with the diminished scale. But, in order to come up with something unique we are going to take a different approach.

Because, we have the B Major chord we can exploit Pat Martino’s minor conversion technique.

In this case, we will employ the minor a Major 3rd up. This will be D#/Eb as the minor key:

IDEA 1:

Here, we will employ the simple Eb minor arpeggio:

John McLaughlin B/C slash chord improviisation example

IDEA 2:

This time, we will employ scale movement inside of the Eb minor arpeggio shape in a horizontal form.

diagram depicting guitarist John McLaughlin improvisation over Slash Chord B/C Example in music notation and guitar tablature

IDEA 3:

Let’s do the same, but, play with the notation and give it a diminished flavour:

John McLauglin guitar improv example for slash chord B/C

IDEA 4:

Now, let’s take a B Major arpeggio and ascend it by making sure our C bass note is within it.

NOTE: There are also two open string notes of D natural [minor 3rd] and the open E. I used these as they make the arpeggio flow easily when alternate picking.

How to play a John McLaughlin guitar arpeggio example for altered slash chord of B/C

IDEA 5:

We can also add some chromaticism for smooth movement.

Chromatic John McLaughlin guitar example

COMPOSITION- APPLICATION IN CADENCE

Finally, let’s see how composition can be exploited with our slash chord.

To do this, we will create a ii V7 I cadence:

diagram depicting guitarist John McLaughlin cadence and jazz composition

NOTICE: In the example above, we can see that the minor becomes diminished and the Dominant becomes 13b9 and the I chord becomes our slash chord that resolves yet hangs in the air.

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Please watch video above for detailed info:

Hi Guys,

Today, we will take a I Vi [VI] ii V V I cadence and re-harmonise it with fusion chord substitutions/slash chords

jazz-fusion-guitar-chords-reharmonisation-slash-chords-lesson-example

To begin with, we will make the chord of C Major into a C6/9 voicing that will resonate well on the guitar.

We, will now employ a slash chord for A7. Here, we will move a flattened 5th away and employ an Eb Triad over an E natural bass.

Let’s now exploit the Dm7 chord. For this we will use a 2nd inversion C Major triad over an F bass note. [Dm9 with an 11th in 1st inversion]

Now, let’s take the first Dominant substitution and go a flat 5th away once again. We will employ a Db Triad over a B bass: [as in an altered 1st inversion]