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:
Here, are a few more voicing’s:
1]
2]
3]
4]
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:
IDEA 2:
This time, we will employ scale movement inside of the Eb minor arpeggio shape in a horizontal form.
IDEA 3:
Let’s do the same, but, play with the notation and give it a diminished flavour:
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.
IDEA 5:
We can also add some chromaticism for smooth movement.
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:
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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