Jens can you do a video on how to apply triads over bass notes to comp over a tune? I’ve been working on this for the past couple days and the only thing I’ve noticed is that if for example I use, D/G, it sounds really nice. But if I do this for a dominant chord, for example Amin/D in place of D7 it is a bit harder to hear the underlying harmony without the 3rd of the chord. Not sure if you’ve already done a video related to this or not but do you have any tips for this?
@@piercealexander Actually, I think you are already checking it out in exactly the right way. Be aware of what you are using and listen to how it sounds in context. It will always be about what context you are in whether something works. I think it is great that you noticed that Am/D is not a stong option. What you could do is check out some of the videos on triad voicings, it will already give you the information. I do have an old video on this, but I doubt if it will give you any really new info :)
Jens Larsen thanks for your reply! I am thinking maybe if I just keep working my way through these through different scales, I might find some better options in some of the other ones like maybe melodic minor. Appreciate you pointing me in the right direction!
Really appreciated this lesson in 2022! Did you ever get around to making that video about considering the root as part of the chord (as you mention)? Would love to see that too!
One of the best tutorials I've ever seen on RUclips! I've never seen a really good lesson covering these modern sounding slash chords that are very important keys to the contemporary composition styles of players like Frank Gambale and Scott Henderson (chock full of them, leaving me scratching my head!). I would love to see more lessons on these chords used for modern fusion-style progressions, note just in a tonal ii-V-I context, but also in a more modal setting, where they seem to be featured in abundance. I'd also love to see the other ideas and possibilities you mentioned at the end of the lesson. There are so many traditional jazz tutorials on YT, but very few addressing contemporary jazz-fusion harmony beyond quartal harmony, and most of the slash chord tutorials are about inversions, not these much hipper sounds. This is really, really great. Thanks!!!
+tonemnster Thanks man! In modal progressions chords don't need to be interpreted in a context (since there isn't really a key) so that is sort of covered in the 12 examples I did already. Putting them in a tonal context helps in recognizing what sort of chord it is., not only theoretically but also for the ear. I am quite sure I will try to make a 2nd lesson with some more voicing possibilites because it's a fun way to come up with some fairly out there sounds :) Thanks for the feedback!
+Jens Larsen Thanks again. I've watched Frank Gambale's "Concert With Class" dvd, and in the lesson section he goes over the harmony for the songs, showing chords and progressions, and it's almost baffling for me because it seems so far removed from tonal harmony, and I'm left wondering where he comes up with this stuff. But, I guess that's where using what you know and experimenting comes in. And I LOVE the "out there" sounds. Them's my favorites! :-) I look forward to that.
+tonemnster Ok. I don't know that dvd, but very often you'll have songs that are sort of in a key but step outside here and there. You actually find this happening in how standards are played too from mid 60's and on.
Great lesson. I've been using a lot of these chords for some time, especially in II-V-Is but this puts a lot more context around why they fit in those scenarios. Would definitely be interested in a lesson on using slash chords on top!
unless it's a standard inversion I more often than not leave the slash part to the bass player and play the triad haha! But seriously this made me put put those slash chords back on the workbench! Understanding the intented chord better will make for better improvisation and fuller sounding comping. Thanks for the great lesson!
I've seen where slash chords are used to basically tell you what inversion but I've also seen where it's used for modal progressions. I think the modal progression thing is cool because it gives you a great understanding of the possible sounds within the key, but anymore information/videos of that and what you said you could expand on would be great. only really have gotten my feet wet with that
+Bradley Stroup I am not sure I follow what you mean? Do you conside A/C as a slash chord in a modal progression? I'll remember that you are interested in lessons expanding on this subject :) Thanks!
Yes, from what was explained to me about it, a modal 2-5-1 in c major would be Dm/C - G/C - C. All the chords give you the impression that it belongs to the key of C major verses changes from D to G to C. C is always over the change. David Willimann has a simple video on it
+Bradley Stroup I don't know of any songs that has what you describe as a modal II V I. Usually you'll come across the 5th used as a pedal note not the root. I actually think the II V I will translate the key just fine without the bass note, probably much better?
Very interesting lesson Jen, i'm currently working on 'Bright Size Life' which contains such slash chords which my ear needs to get used to :-). Sounds quite contemporary and remembers me of Mick Goodrick in some way. Would like to go deeper into this as could bring a lot to modern jazz compositions. Thanks for sharing so much pertinent information :-) Take care
In classical theory, G/C is called "dominant over tonic". Essentially used as a suspension chord, the B and the D both resolving on C. Many classical pieces have a dominant over tonic as their one before last chord. Most of them are dominant7 (G-B-D-F, in this case) over tonic (C), which provides an additionnal suspension (F for E).
+14jemima Yes, that is very true. We do have that in Jazz sometimes, but it is fairly rare and mostly harmonized with a dim chord rather than a triad. The triad version almost always sounds like a tonic because the Maj7 is not considered a suspension, but a part of the chord.
Agreed. If I'm not mistaken, the concept of "foreign tones" is limited to suspensions in jazz, i.e. sus4 and sus2 (I don't think I've ever heard of a sus7). Conversely, that notion is central in classical harmony.
+14jemima Actually you do have suspensions such as b3 for 3, #4 for 5 and b6 for 5. Try to listen to the song 'If ai should loose you' for an example of the first two.
hello man, i've been playing guitar for quite a while and I would say I am fairly experienced. However listening to this video I feel alienated. Where do I start with your videos if I want to begin understanding the theory behind this? Thank you fam Peter
+Peter K Some of the older videos, diatonic chords, target notes and if you are unfamiliar with improvising over changes probably some of the videos about playing over a II V I or a blues with arpeggios? Have a look, and feel free to ask :)
Great lesson. There is a Joe Pass transcription (Li'l Darlin') in which he ends with a chord similar to your B/C example, except that it is spelled from the bottom up: C,E,B,D#, F#. They have it labeled as a C major 7. My question is can you have a major chord with a #9? I was under the impression that you could only have #9's on dominant chords? For reference, here is the video with the performance and notation: ruclips.net/video/XPU0DPqlpgo/видео.html Thanks!
Thanks Bill! You can have a #9 on a maj 7th chord, and mostly it is used as a special effect on s tonic chord. Wayne Shorter and Monk used it too. It's one of the few examples of a poly chord that you come across more often: B/C where they are both triads. On guitar you mostly leave out the G. Try adding extensions to the chord on the 6th degree in harmonic minor. That's where you'll find it
![How Inversions and Slash Chords Create Better Progressions [MUSIC THEORY]](/img/1.gif)
This was helpful Jens, thank you. Considering you and Rick Beato, I think we are super fortunate to have such awesome teachers.
Thank you very much! Rick is indeed a great guy to check on RUclips 🙂
Jens can you do a video on how to apply triads over bass notes to comp over a tune? I’ve been working on this for the past couple days and the only thing I’ve noticed is that if for example I use, D/G, it sounds really nice. But if I do this for a dominant chord, for example Amin/D in place of D7 it is a bit harder to hear the underlying harmony without the 3rd of the chord. Not sure if you’ve already done a video related to this or not but do you have any tips for this?
@@piercealexander Actually, I think you are already checking it out in exactly the right way. Be aware of what you are using and listen to how it sounds in context. It will always be about what context you are in whether something works. I think it is great that you noticed that Am/D is not a stong option.
What you could do is check out some of the videos on triad voicings, it will already give you the information. I do have an old video on this, but I doubt if it will give you any really new info :)
Jens Larsen thanks for your reply! I am thinking maybe if I just keep working my way through these through different scales, I might find some better options in some of the other ones like maybe melodic minor. Appreciate you pointing me in the right direction!
Really appreciated this lesson in 2022! Did you ever get around to making that video about considering the root as part of the chord (as you mention)?
Would love to see that too!
One of the best tutorials I've ever seen on RUclips! I've never seen a really good lesson covering these modern sounding slash chords that are very important keys to the contemporary composition styles of players like Frank Gambale and Scott Henderson (chock full of them, leaving me scratching my head!). I would love to see more lessons on these chords used for modern fusion-style progressions, note just in a tonal ii-V-I context, but also in a more modal setting, where they seem to be featured in abundance. I'd also love to see the other ideas and possibilities you mentioned at the end of the lesson. There are so many traditional jazz tutorials on YT, but very few addressing contemporary jazz-fusion harmony beyond quartal harmony, and most of the slash chord tutorials are about inversions, not these much hipper sounds. This is really, really great. Thanks!!!
+tonemnster Thanks man! In modal progressions chords don't need to be interpreted in a context (since there isn't really a key) so that is sort of covered in the 12 examples I did already. Putting them in a tonal context helps in recognizing what sort of chord it is., not only theoretically but also for the ear.
I am quite sure I will try to make a 2nd lesson with some more voicing possibilites because it's a fun way to come up with some fairly out there sounds :)
Thanks for the feedback!
+Jens Larsen Thanks again. I've watched Frank Gambale's "Concert With Class" dvd, and in the lesson section he goes over the harmony for the songs, showing chords and progressions, and it's almost baffling for me because it seems so far removed from tonal harmony, and I'm left wondering where he comes up with this stuff. But, I guess that's where using what you know and experimenting comes in.
And I LOVE the "out there" sounds. Them's my favorites! :-) I look forward to that.
+tonemnster Ok. I don't know that dvd, but very often you'll have songs that are sort of in a key but step outside here and there. You actually find this happening in how standards are played too from mid 60's and on.
Lessons even on Christmas Eve! That's dedication!
Thanks Jack! I didn't shoot or edit it that day though ☺
Great lesson. I've been using a lot of these chords for some time, especially in II-V-Is but this puts a lot more context around why they fit in those scenarios. Would definitely be interested in a lesson on using slash chords on top!
+gamzer Thanks man! I'll keep in mind that you are interested!
Hi Jens this may help me understand concept of slash chords. 👌🏾👍🏾🎸
I certainly hope so Mike 🙂
unless it's a standard inversion I more often than not leave the slash part to the bass player and play the triad haha! But seriously this made me put put those slash chords back on the workbench! Understanding the intented chord better will make for better improvisation and fuller sounding comping. Thanks for the great lesson!
You're welcome Evens!
I've seen where slash chords are used to basically tell you what inversion but I've also seen where it's used for modal progressions. I think the modal progression thing is cool because it gives you a great understanding of the possible sounds within the key, but anymore information/videos of that and what you said you could expand on would be great. only really have gotten my feet wet with that
+Bradley Stroup I am not sure I follow what you mean? Do you conside A/C as a slash chord in a modal progression? I'll remember that you are interested in lessons expanding on this subject :) Thanks!
Yes, from what was explained to me about it, a modal 2-5-1 in c major would be Dm/C - G/C - C. All the chords give you the impression that it belongs to the key of C major verses changes from D to G to C. C is always over the change. David Willimann has a simple video on it
+Bradley Stroup I don't know of any songs that has what you describe as a modal II V I. Usually you'll come across the 5th used as a pedal note not the root. I actually think the II V I will translate the key just fine without the bass note, probably much better?
that was great! thanks for sharing.
You're welcome! ☺
D/C is how Jim Hall and Ron Carter end Autumn leaves. It's real nice
Very interesting lesson Jen, i'm currently working on 'Bright Size Life' which contains such slash chords which my ear needs to get used to :-). Sounds quite contemporary and remembers me of Mick Goodrick in some way. Would like to go deeper into this as could bring a lot to modern jazz compositions. Thanks for sharing so much pertinent information :-) Take care
You're very welcome! 🙂 THanks for dropping by the live stream!
In classical theory, G/C is called "dominant over tonic". Essentially used as a suspension chord, the B and the D both resolving on C. Many classical pieces have a dominant over tonic as their one before last chord. Most of them are dominant7 (G-B-D-F, in this case) over tonic (C), which provides an additionnal suspension (F for E).
+14jemima Yes, that is very true. We do have that in Jazz sometimes, but it is fairly rare and mostly harmonized with a dim chord rather than a triad. The triad version almost always sounds like a tonic because the Maj7 is not considered a suspension, but a part of the chord.
Agreed. If I'm not mistaken, the concept of "foreign tones" is limited to suspensions in jazz, i.e. sus4 and sus2 (I don't think I've ever heard of a sus7). Conversely, that notion is central in classical harmony.
+14jemima Actually you do have suspensions such as b3 for 3, #4 for 5 and b6 for 5. Try to listen to the song 'If ai should loose you' for an example of the first two.
+Jens Larsen. Interesting. Thanks, I will.
Great vidyaaa!
+Git Groove Thanks man! :)
People Like Jens Larsen mature, but always stay youthful and 'hip'.
Haha! Thank you! 😄
Jens Larsen I'd Like to know What´s the scales that these chords came from?
hello man, i've been playing guitar for quite a while and I would say I am fairly experienced. However listening to this video I feel alienated. Where do I start with your videos if I want to begin understanding the theory behind this?
Thank you fam
Peter
+Peter K Some of the older videos, diatonic chords, target notes and if you are unfamiliar with improvising over changes probably some of the videos about playing over a II V I or a blues with arpeggios?
Have a look, and feel free to ask :)
Great lesson. There is a Joe Pass transcription (Li'l Darlin') in which he ends with a chord similar to your B/C example, except that it is spelled from the bottom up: C,E,B,D#, F#. They have it labeled as a C major 7. My question is can you have a major chord with a #9? I was under the impression that you could only have #9's on dominant chords? For reference, here is the video with the performance and notation: ruclips.net/video/XPU0DPqlpgo/видео.html Thanks!
Thanks Bill! You can have a #9 on a maj 7th chord, and mostly it is used as a special effect on s tonic chord. Wayne Shorter and Monk used it too.
It's one of the few examples of a poly chord that you come across more often: B/C where they are both triads. On guitar you mostly leave out the G.
Try adding extensions to the chord on the 6th degree in harmonic minor. That's where you'll find it
Thanks for your answer. You have an impressive understanding of harmony.
+bills48321 Thanks Bill, mostly it's just that I played a lot of songs :)