Yes! This perspective is very useful! I had not thought about the ‘control’ angle but that’s exactly it! And I love the ‘My Funny Valentine’ example where actually writing in the slash notation isn’t needed- it gives the player a little discovery moment if they don’t already know the descending line
We are so lucky to have you guiding our musical journey! "Control" is the word of the day. And these were terrific examples! Joni Mitchell's "Coyote" was one of my first gentle introductions to a jazz-pop sensibility, and some great musicians. I didn't know why it felt so different. Now I know. Thank you!
Actually, this was very helpful.. another more understandable way of explaining slash chords. Now please show some more jazz based slash chords in a part 2 video. Thanks!
DEFINITELY helpful. From what you're saying, slash chords are a fast and pragmatic way of a composer conveying music to the performer, especially when there's important melodic movement in the bass. Great examples here - thanks Chris!
Very helpful! Even if you are hip to slash chords it's great to see the many ways they can be applied. Once again, kudos for the Kate Bush reference. Super cool!
The C# with C-E-Gmin-if you add an A, that is now an A7#9, which can then lead into a Dmin or D. Then you can move up again to D# in the bass and play a B7 that can lead into E- or E. I like to play secondary dominants this way, though not necessarily with the #9. I like the ascending bassline. I kind of hoped you'd have more tips on things like this, where the slash chord is over a chord tone.
Hey nice lesson! Are you aware of any instances where slash chords have been used to impart a sense of polytonality where the upper voices and bass have their own separate, but functional journeys?
great question, and of course that's a strong modern concept, but perhaps best actualized by fully writing out the specific parts. i'm going to go out on a limb and say slash chords are best for short handing something. more detailed voicings and colors will take you to conventional notation, i suspect.
The phrase "hemi demi semi quaver" has opened up some kind of portal on my end. Big shaggy purple things tumbled out and now they're pawing all of my knickknacks. Is there some trick to shooing them back in and closing it up?
We dont have a "above slash chord" specifying the highest note. Why talk about the melody in your chord symbol, i guess is the thinking. Total control of the melody doesnt require messing with chord symbols; just write the melody. But then why do we worry about the bass line when specifying chords? Just write it. Is the implication that bass lines are more closely related to chords. (rhythm?) than melody is? True, but the bass line is underappreciated if it's just tossed in there with rhythm/chord notation!
Yes! This perspective is very useful! I had not thought about the ‘control’ angle but that’s exactly it!
And I love the ‘My Funny Valentine’ example where actually writing in the slash notation isn’t needed- it gives the player a little discovery moment if they don’t already know the descending line
"Ambiguity is where we live in art". What a provocative and tantalising thught!
We are so lucky to have you guiding our musical journey! "Control" is the word of the day. And these were terrific examples! Joni Mitchell's "Coyote" was one of my first gentle introductions to a jazz-pop sensibility, and some great musicians. I didn't know why it felt so different. Now I know. Thank you!
thank you!
Actually, this was very helpful.. another more understandable way of explaining slash chords. Now please show some more jazz based slash chords in a part 2 video. Thanks!
DEFINITELY helpful. From what you're saying, slash chords are a fast and pragmatic way of a composer conveying music to the performer, especially when there's important melodic movement in the bass. Great examples here - thanks Chris!
pragmatic is the perfect word.
Very helpful! Even if you are hip to slash chords it's great to see the many ways they can be applied. Once again, kudos for the Kate Bush reference. Super cool!
slash chords are easy to understand and tell someone else about, love the video
Thanks. Great content.
Thank you!
thanks for sharing your knowledge 🙏
So nice of you
Normally I would bypass basic stuff like slash chords. But it is from you, so it is going to be special right? And yes it was!
More that helpful. It makes you think about this things. Thanks.
This was great! Great teaching manner as usual. Nice to see a different perspective on what you may already know.
I appreciate that!
The C# with C-E-Gmin-if you add an A, that is now an A7#9, which can then lead into a Dmin or D. Then you can move up again to D# in the bass and play a B7 that can lead into E- or E. I like to play secondary dominants this way, though not necessarily with the #9. I like the ascending bassline. I kind of hoped you'd have more tips on things like this, where the slash chord is over a chord tone.
Kate Bush uses a lot of slash chords and it often is the most distinct or hookiest moment, seems to give the music a specific identity
Hey nice lesson! Are you aware of any instances where slash chords have been used to impart a sense of polytonality where the upper voices and bass have their own separate, but functional journeys?
great question, and of course that's a strong modern concept, but perhaps best actualized by fully writing out the specific parts. i'm going to go out on a limb and say slash chords are best for short handing something. more detailed voicings and colors will take you to conventional notation, i suspect.
Great video. Should we always be changing the inversion of a chord because of the slash note?? ie: C/E = E G C
that's the instruction, yes. though there may be artistic choices YOU make that would alter that. pop slash chords more so, jazz slash chords less.
What is the notation program shown? Not the piano keys/chord showing one, the one that shows the staff and lyrics...
At the bottom of the screen is “Chordie “. That’s real time. And of course I was splashing pdfs of the actual tunes.
The phrase "hemi demi semi quaver" has opened up some kind of portal on my end. Big shaggy purple things tumbled out and now they're pawing all of my knickknacks. Is there some trick to shooing them back in and closing it up?
😆
We dont have a "above slash chord" specifying the highest note. Why talk about the melody in your chord symbol, i guess is the thinking. Total control of the melody doesnt require messing with chord symbols; just write the melody.
But then why do we worry about the bass line when specifying chords? Just write it. Is the implication that bass lines are more closely related to chords. (rhythm?) than melody is? True, but the bass line is underappreciated if it's just tossed in there with rhythm/chord notation!
all excellent observations. (and questions)
Thank you, this was Fun..... But in the end you slashed yourself :-)
Two words:
Steely
Dan