Slash chords – optional or not?

[tradernick]

Here is how your answer could and would be interpreted.

Actually no, my answer couldn’t be interpreted that way by anyone who bothered to look into it. Inversions aren’t stacked in thirds.

I’m out, good luck.

 

[Groove Master]

Like Spock would say:
171 posts !!! Fascinating...

 

[Sequential]

Like Spock would say:
171 posts !!! Fascinating...

That's ONE word we can use!

 

[LBS-bass]

Like Spock would say:
171 posts !!! Fascinating...

It just goes to show that bassists only seem like the quiet, rational ones onstage. Really, we're just as noisy and boisterous as everyone else.

 

[Groove Master]

It just goes to show that bassists only seem like the quiet, rational ones onstage. Really, we're just as noisy and boisterous as everyone else.

Hahaha, that's funny ;-)

 

[zZippy]

Really, we're just as noisy and boisterous as everyone else.

Or at least... opinionated.

 

[Russell L]

Not me, I only play things my way.

EDIT: joking.

 

[Duanestuermer]

So if that F/D is described as a dmin7 what’s the root?

The problem comes in if you are asked to improvise on a chord, beyond the obvious bass note.
On a G/B the triad is G, B, D and those notes will work (and some others depending on the songs concept) as improvisational notes, but if you think its a B chord, because the B is the bass note, and than are asked to improvise, a B chord triad is B, D#, and f#, and may if the song is simple pop, sound like clams, and be wrong.
To create tension, to lead one chord into another, etc etc the bass can provide interest by not playing the root, but the proper chord must be known to do this correctly (or to at least sound good).

 

[Mushroo]

Try playing Pachibel's Canon without the inversions, and then tell me if you still think "slash chords are optional."

 

[Sequential]

Try playing Pachibel's Canon without the inversions, and then tell me if you still think "slash chords are optional."

I just did this. Somethin' don't sound right.........................

 

[lowphatbass]

The problem comes in if you are asked to improvise on a chord, beyond the obvious bass note.
On a G/B the triad is G, B, D and those notes will work (and some others depending on the songs concept) as improvisational notes, but if you think its a B chord, because the B is the bass note, and than are asked to improvise, a B chord triad is B, D#, and f#, and may if the song is simple pop, sound like clams, and be wrong.
To create tension, to lead one chord into another, etc etc the bass can provide interest by not playing the root, but the proper chord must be known to do this correctly (or to at least sound good).

I agree with this example. The hang-up starts with the idea that someone is assuming the B triad is Major..but I understand the point you’re making. I guess my point is slash chords can be used as a lazy tool to write charts...maybe a “safe” way to write charts giving the various players enough information to correctly render the song but not necessarily naming the correct chord. In your example yes, it’s is a G major triad with a B in the bass but in the same song a C/A could function as a ii and I’d call that an “a minor” chord, not a C chord and not an “A Major” chord.

 

[Bass4Gsus]

Please re-read my post. I wrote that the inversions were notated with numbers (figured bass) in classical notation. Nowhere did I say that there were no inversions in jazz. The use of "slash chords" and other methods of notations regarding inversion in jazz was implied. That is unless you have been using figured bass in jazz and then I would really like to see some examples.

Edited for clarity.

The OP had a question on how to play or outline a / chord at his church service. Not sure how your posts about ancient history helped the OP.

As it turns out I played that piece that night and played it G B as the next chord was D I then played D. Not much help to the OP today, but I did offer my 2 cents to help the OP initially.

I do hope I will not be arrested or tared and feathered for my indiscretion.

Merry Christmas

 

[Bass4Gsus]

I hate to come from the guitar point of view, but on acoustic, if you don't play the right bass note in the chord itself, it really messes up the "feel" of that chord's sound. If you have a bass player, it's not as crucial, because while you're playing the "wrong" voicing, the bass player is playing the "right" voicing, and if the mix is good, he will drag the feel back from your unskilled bony hands. On solo guitar? OMG - HORRIBLE MISTAKE. I literally interpret C/G as "C Major with a G in the bass."

I too often find the guitarist more suited to play the inversions. But nothing is written in stone. The key is to work together.

 

[Mushroo]

The OP had a question on how to play or outline a / chord at his church service. Not sure how your posts about ancient history helped the OP.

"O Come All Ye Faithful" was written in the 1740s so discussion of classical "figured bass" harmony is quite relevant.

 

[Josh Kneisel]

you play the note under the slash

 

[Febs]

P.S. I've deleted all my useless postings

You do this all the time, and it is incredibly disrespectful to the people who attempt in good faith to engage you in discussion and to anyone who tries to read the thread later.

 

[dreamadream99]

I'd like to hear opinions about which note(s) people play when they encounter slash chords.

So hopefully, by now, after the 9 pages of backlash, you realize the correct way to phrase your poll is:

When you encounter a slash chord do you...?

• Play the note under the slash
• Play the wrong note

 

[zZippy]

So hopefully, by now, after the 9 pages of backlash, you realize the correct way to phrase your poll is:

When you encounter a slash chord do you...?

• Play the note under the slash
• Play the wrong note

Yes. There are obviously no other options.

 

[byacey]

88 posts down the rabbit hole and mighty few of them (these ^^^ are among the few) take any notice that we’re probably playing in ensembles, i.e. duets, trios or bands. When you get a chart it’s likely one size fits all: there aren’t separate bass parts, keyboard parts, guitar parts, etc. so you’re all looking at that inversion. If you all play the inversion it’ll sound goofy. The inversion doesn’t belong to the bass just because the bass note is specified. It’s a good bet that the inversion is intended for the keys or guitar (or accordion?) and the bass is simply placed on notice that there’s a harmony “thing” coming. The obligation is on you to use your skill and judgement to play what fits and sounds good. Serve the song! A novel idea: assuming you aren’t reading it cold, talk about the arrangement with the other musicians before the downbeat.

The slash notes usually indicative of chromatic or scale movement to create an interesting bass line, if the bassist is quick enough to recognize it.

 

[byacey]

Always think from the root. Gmaj w/ B in the bass is not a “G chord”, it’s a “B chord”.

A Bmaj would require an F# and a D#, which are not harmonically related to a Gmaj chord, which is what they are calling for.