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 Majortriad 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.
Chords of guitarist John McLaughlin Lesson and Examples
IMPORTANT: Please watch video above for detailed info:
Hi Guys,
Today, we will look at some more Modern Jazz Fusion Chords.
These are primarily based around a MajorTriad [played] over a different bass note: Commonly called “Slash” chords.
Here, are some essential common slash chords employed in/for reharmonisation.
PART 1:
The first chord we will investigate is the tri tone concept of C/F#.
This unique voicing creates a colourful dissonant timbre.
In this example we have a 2nd inversiontriad of C Major played over an F# bass note.
Chord diagram and tablature for the C/F# slash chord, highlighting its bright voicing and tritone
Next, we will examine the most common slash chord type.
This is the 7 Sus 4 chord. And, in this case it will be C/D. They may be played in succession or as a substitute for a dominant chord. [for example C/D instead of D7]
This type of chord is heard a lot in pop songwriting, but is also highly prominent and best known for the sequence in Herbie Hancock’s composition “Maiden Voyage”.
Maiden Voyage Herbie Hancock 7sus Chord Example
[What you will start to notice is that the Major triad has a lovely bright quality when played over a different bass note]:
Here, is the guitar voicing with a root C Major chord over a D bass.
Guitar chord diagram illustrating the C/D slash chord for modern jazz fusion.
The next chord is the classic Dominant 7th in its 3rd inversion.
Generally in Fusion these chords do not resolve and/or are played once again in succession.
For, our example we will employ a triad of D Major with it’s 7th [C] in the bass
D/C slashchord diagram illustrating voicing and finger placement for guitar.
Next up, we have one of John McLaughlin’s favourite Slash Chords.
This is an Eb triad over an E [up 1/2 step] bass. [This is also known as a13b9 that works well with the diminished scale].
Slash chord diagram illustrating the Eb triad over an E bass note by jazz guitarist John McLaughlin.
Here, we have an interesting chord that is also a favourite of the late great jazz guitarist Pat Martino.
With the open E note resonating in the bass this produces an extremely beautiful set of tone colours in one chord.
Slash chord diagram depicting Fmaj7b5/E on guitar for modern jazz fusion.
In order to create that big ethereal/dissonant sound let’s exploit John Mclaughlin’s unique nylon string guitar voicing.
This is a B Major triad over a C Bass. [This also works well with the open E string ringing out].
Slash chord diagram illustrating the B/C chord voicing for guitar, showcasing positions and finger placements.
Finally, we will manipulate another tri-tone voicing:
This will be a less bright but highly resonant sound with a root F# triad over a low G bass note.
F# triad diagram over a low G bass note for creating a slash chord
PART 2:
Okay, you might ask. What do we do with these chords?
How to we compose with them?
Re- harmonise with them?
Actually use them?
Well, firstly, lets take a basic/common chord sequence like,
iii Vi ii V7 I
Slash chord modern fusion substitutions and reharmonisation
For the first chord we will employ a C6/9, but, we will only use the E A D G tones and create a “Quartal” sound.
From here we will move a tri-tone away from the Am7 chord and employ an Eb triad. We will still establish the dominant in the bass by employing the 5th note of Am7, [the note E] hence we have Eb/E.
For chord ii [Dm7] we will have a C triad over an F bass note acting as a First inversion Dm7 chord. [You could also think of this as having an added 9th and 11th]
The dominant chord will now have the dominant root in the bass with a Db Major triad, [a flat 5th/tri-toneaway] on top in the treble.
This then returns to the CMaj 6/9 tonic chord
Below is another example:
Notice, the reharmonisation and how the basic chords are exploited with colourful slash chords.
Example of reharmonisation using colorful slash chords in a blues 12-bar structure.
THE BLUES
To complete this, let’s put them into a blues 12 bar structure [turn around] so that you can clearly see how to create composition from them:
Blues chart example showcasing slash chord substitutions and harmonic rhythm in a 12-bar structure.
From the above chart notice that the first 4 bars are more of a long drawn out affair in the tonic key. Next, this is repeated in a similar fashion [or a variation] with chord IV of the key.
But, in the last four bars we exploit the harmonic rhythm to create drama and turn the music around.
A blues chart showcasing various slash chord progressions, highlighting ii, V7, iii, and Vi patterns.
BLUES CHART: Example,
Blues chart example showcasing substitutions and slash chord progressions.
