Don’t try the “rational, accepted, and academically correct” approach here - it won’t work!
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Slash chords – optional or not?
- Thread starter zZippy
- Start date
Don’t try the “rational, accepted, and academically correct” approach here - it won’t work!
I wonder why there is a presumption [in this thread] that the note to the right of the slash belongs to the bass player. Everybody in the band is looking at the same chord chart. Can there really be so few of us that think beyond our own instruments all the way to the ensemble? That was a rhetorical question; we go to clubs and hear that self centered kind of playing too often. It’s why the really good players and bands stand out from the rest.
Why? Because that's what the slash is for -- to say what note is lowest.
God, this is actually so simple, folks.
I wonder why there is a presumption [in this thread] that the note to the right of the slash belongs to the bass player.
The composers do this to convey how they want the voices stacked. If you don't like what they are suggesting, write your own charts.
The composers do this to convey how they want the voices stacked. If you don't like what they are suggesting, write your own charts.
Do you think the bass player should avoid the note named beneath the slash?
G -bass instrument plays G
G/A -bass instrument plays A
G/B -bass instrument plays B
G/C -bass instrument plays C
G/D -bass instrument plays D
G/E -bass instrument plays E
G/F -bass instrument plays F
G/F# -bass instrument plays F#
The slash indicates the bass note. In a rock rhythm section, that’s the electric bass. In other ensembles, it could be the tuba, organ, piano, bassoon, bass clarinet, bari sax, bass viol, or heckle horn. Or Dr. Suess’s horndogglebamboozler.
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Let's use dreamadream99's comment and try to figure out some hybrid/slash chord nuances.
"G/A -bass instrument plays A (1)
G/B -bass instrument plays B (2)..."
The left part of the slash chord "construction" refers to the G (triad major) chord.
The G major triad chord notes are G B D.
We have two different bass notes - A (as 1) and B (as 2) in the example above.
In dreamadream99's case #2, we can easily determine that the bass note, "B" is a chord note from that G major triad chord; therefore, the hybrid/slash chord "construction" G/B is an inversion (1st) of G major chord.
In this case, the composer/arranger has specifically asked the bass player (or other bass-type of instrument) to play the note, B as the lowest overall/band or orchestra-based note.
P.S. The composer/arranger/Singer/band leader and/or other musicians in the band are EXPECTING from you, as a BASS PLAYER to play that note!
If a bass player suddenly plays any other note without, any prior discussion, with other musicians/singers, etc...,
it indicates only two things to me:
1. That bass player is INCOMPETENT,
or
2. That bass player is HIGHLY/ignorantly/negligently-disrespectful to the other musicians.
P.S.2. There were some comments in this thread about "It depends on the context".
Once again, the following and IS your context!
Also, let's look at that "climbing" from G to D bass line in G - D/A - G/B - C - D.
A beautiful melodic bass line given to you by the composer!)
That part would sound DIFFERENTLY if the bass player had played the ROOTS of the upper chords.
Now, let's take a look at the 1st example from dreamadream99's comment = G/A.
As always, let's decipher the left part of the hybrid/slash chord.
G major triad = G B D.
We don't have A in that chord; therefore, it's NOT an inversion of G major triad!
If it's NOT an inversion, then, the lowest note of that chord - A - is our hybrid chord ROOT!
(Yes, we could find some musicians who'd argue that A is NOT the root of our chord, but it's a DIFFERENT thread, and it's a different level of knowledge.)
Let's write down the notes from that "simple" slash chord.
A (bass) and G B D.
We could use the following web-site to help us identify that hybrid chord.
Invalid Link Removed
If I were to compose/arrange that song and I were to LIKE (very much) the sonority of those A G B D notes played harmonically/simultaneously as "some" chord, then, it would be my responsibility to notate it properly on the music sheet. A standard notation would provide me with everything/anything I need to clearly indicate my chord, but...
What if I needed to provide just a chord progression sheet?
How could I notate that "A G B D" chord on the chord sheet/s?
Here is what that above reference web-site says:
I would take the first notation as closest to my "heart" - A7sus4(9).
That "7" gives us G, "sus4" gives us D, and (9) gives us B, but...
A7sus4 has the note, E that is NOT in my hybrid chord!
A7 sus piano chord
Let's check A9sus4 notes from the same web-site.
Once again, we have the E note with our A9sus4 notation.
WHAT TO DO?
Maybe, let's try to re-write it as A9sus4(omit 5)?
It could work but it does not look "attractive"; therefore,
By notating that chord as G/A, I clearly indicate the chord notes I want to hear from a/any band while playing the measure from "my song" (I wish).
"G/A -bass instrument plays A (1)
G/B -bass instrument plays B (2)..."
The left part of the slash chord "construction" refers to the G (triad major) chord.
The G major triad chord notes are G B D.
We have two different bass notes - A (as 1) and B (as 2) in the example above.
In dreamadream99's case #2, we can easily determine that the bass note, "B" is a chord note from that G major triad chord; therefore, the hybrid/slash chord "construction" G/B is an inversion (1st) of G major chord.
In this case, the composer/arranger has specifically asked the bass player (or other bass-type of instrument) to play the note, B as the lowest overall/band or orchestra-based note.
P.S. The composer/arranger/Singer/band leader and/or other musicians in the band are EXPECTING from you, as a BASS PLAYER to play that note!
If a bass player suddenly plays any other note without, any prior discussion, with other musicians/singers, etc...,
it indicates only two things to me:
1. That bass player is INCOMPETENT,
or
2. That bass player is HIGHLY/ignorantly/negligently-disrespectful to the other musicians.
P.S.2. There were some comments in this thread about "It depends on the context".
Once again, the following and IS your context!
Also, let's look at that "climbing" from G to D bass line in G - D/A - G/B - C - D.
A beautiful melodic bass line given to you by the composer!)
That part would sound DIFFERENTLY if the bass player had played the ROOTS of the upper chords.
Now, let's take a look at the 1st example from dreamadream99's comment = G/A.
As always, let's decipher the left part of the hybrid/slash chord.
G major triad = G B D.
We don't have A in that chord; therefore, it's NOT an inversion of G major triad!
If it's NOT an inversion, then, the lowest note of that chord - A - is our hybrid chord ROOT!
(Yes, we could find some musicians who'd argue that A is NOT the root of our chord, but it's a DIFFERENT thread, and it's a different level of knowledge.)
Let's write down the notes from that "simple" slash chord.
A (bass) and G B D.
We could use the following web-site to help us identify that hybrid chord.
Invalid Link Removed
If I were to compose/arrange that song and I were to LIKE (very much) the sonority of those A G B D notes played harmonically/simultaneously as "some" chord, then, it would be my responsibility to notate it properly on the music sheet. A standard notation would provide me with everything/anything I need to clearly indicate my chord, but...
What if I needed to provide just a chord progression sheet?
How could I notate that "A G B D" chord on the chord sheet/s?
Here is what that above reference web-site says:
I would take the first notation as closest to my "heart" - A7sus4(9).
That "7" gives us G, "sus4" gives us D, and (9) gives us B, but...
A7sus4 has the note, E that is NOT in my hybrid chord!
A7 sus piano chord
Let's check A9sus4 notes from the same web-site.
Once again, we have the E note with our A9sus4 notation.
WHAT TO DO?
Maybe, let's try to re-write it as A9sus4(omit 5)?
It could work but it does not look "attractive"; therefore,
By notating that chord as G/A, I clearly indicate the chord notes I want to hear from a/any band while playing the measure from "my song" (I wish).
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Addendum to my very long comment above.
What if I (after identifying the the chord as A9sus4(omit 5), decide to invert it and play a different - not Root - chord note as the lowest note.
Yes, I could play some inversion/s but the chord sonority would differ from the composer’s idea/goal.
And it would solidly place me back in those two categories, mentioned in my very long comment.
What if I (after identifying the the chord as A9sus4(omit 5), decide to invert it and play a different - not Root - chord note as the lowest note.
Yes, I could play some inversion/s but the chord sonority would differ from the composer’s idea/goal.
And it would solidly place me back in those two categories, mentioned in my very long comment.
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Proper naming of the chord is important too, as it has to logically fit the parlance of the surrounding chords.
Good Luck. I hope you are doing the 5 step Guitarist Recovery Program.
1) Learn to keep time
2) Learn to support the music instead of trying to be the star.
3) Turn down
4) Turn Down
5) Turn Down
G/D and D/A are second inversion (perfect fifth).
G/B and A/C# are first inversion (major third).
Here is a simplified aural version of that G - D/A - G/B - C - A/C# - D chord progression, followed by the same chord progression but without the bass playing inverted chords.
And here is a soundclip of the above referenced chord progression from Guitar Pro.
First 4 measures with inverted chords, the last 4 measures - the bass plays the chord roots.
https://www.talkbass.com/attachment...6/?temp_hash=eec79d4542f133ce28ac946496487729
Haha thanks! Heh, it was acoustic, and often rhythm. So I was mainly already there when I switched.
O Come, All Ye Faithful - Wikipedia
"O Come, All Ye Faithful" (originally written in Latin as Adeste Fideles) is a Christmas carol that has been attributed to various authors, including John Francis Wade (1711–1786), John Reading (1645–1692) and King John IV of Portugal (1604–1656), with the earliest manuscript of the hymn bearing his name, located in the library of the Invalid Link Removed.[1][2][3] A manuscript by Wade, dating to 1751(!!!- WUTP)."
It's a "pure" example of Classical Music Theory beginnings. Just take this hymn and start learning Classical Theory, and re-harmonize it to your liking, to your aural "context", while rehearsing/exercising at home (or in your garage) but with a band/orchestra I would follow the band's "context" - the band's arrangement version.
There are numerous examples of various re-harmonization attempts on the Internet. So many chord changes.
Here is an example of the "bass-pedaling
" on G when Verse starts, plus an "unusual" Cadd2 chord...A comic relief.
With so many chord changes, I was upset that two measures did not have any "busy" bass movement; therefore, I've decided to
"improve it".
(P.S. It's just a JOKE. No need to feel aghast.)
One of my favorite uses of what you described is “Lithium” by Nirvana. Every time Kurt goes to B flat and C, Krist happily goes to F and G and it sounds awesome.
More specifics, please about those B flat and C.
From here:
Lithium by Nirvana Chords, Melody, and Music Theory Analysis - Hooktheory
I have no clue what this site is but just listen to the song. It’s exactly as I described.
Currently listening.
Left side - a chord
Right side - a prime bass note (without a pickup note).
Verse1.
D/D - F#/F# - Bm/B - G/G - Bb/Bb - C/C - A/A - C/C - etc.
Verse2.
Bass notes:
D - C# - B - G - (!) Bb/F - C/G(!) - A/A - C/C, but...
The last time in verse2, the bass plays Bb with Bb and C with C.
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