Slash Chords- What Are They and How To Use Them
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- Опубліковано 19 кві 2017
- Slash Chords - What Are They and How To Use Them. In this video only Major Triads Over Bass Notes are addressed.
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I love this video. I learned so much, and will be revisiting this a lot since slash chords are still new to me. There's also something about the flow/editing that is very pleasantly matter-of-fact and I love it...
And yet another wonderfully informative video. Every video you put out teaches me something. Thank you so much for your efforts, they do not go unappreciated
You did it again! Thank you! Not enough people are liking this video! They do not appreciate that you are doing this out of the goodness of your heart!
Rick, You spelled this out like a "logical let's make-sense machine!!!" (nice ) love your clarity and how to mentally think about and handle these chords and treat the scales that go with them..... Thank you for being on the planet brother.... I'm adopting your whole approach!!!!!
Great lesson!! I was just going over this last night and you filled in the blanks for me thank you!!👏👏👏👏
you are such an amazing teacher! thank you for sharing your knowledge with us. much love!
Thanks, Rick--nicely done. I often think of slash chords by keeping the bass note constant and then moving the triads up.
man, i totally thought this was going to be a lesson about slash's common chord types.
Me too
He knows that's what most people will think when they search and click on the video...he gives good info but this was clickbaity. And even though I realize he gives a lot of good info for free, something about his tone and delivery always irks me. I feel like I'm being talked down to by a cranky high school teacher or something.
@@johnulcer i totally get what you're talking about with his tone, but the video is the least click baity it could be
Wow i found a bunch of idiots lmao hows this clickbait at all????
Woah :O
You're such a great teacher! Thank you so much sir. Actually, I'm study at İstanbul University State Conservatory ,and this week we were learning this subject. But this subject was very diffucult for me. And now I'm ready to teaching it to others :D
Hey from TURKEY! And thank you again for your absolutely work :) :)
I have learned a lot when it comes to modernism and I thank you. Mostly in the area of modes that are not normally used in most tonal music. I was really looking to break free of my many years of using traditional harmonic functions, which had suddenly just started to seem like "not enough" to my ears anymore. So thanks! BTW this is the wrong topic to ask this on as I am not even thinking of slash chords, but I think one gets more replies while replying to the latest video. In the section of modes, I don't think you have the Harmonic Major in there anywhere and its modes. I was just transcribing March of The Slave Children From John Williams(as an exercise to get out of my traditional tonal ways, finding music that does not fit into older harmony methods) and realized that it fit none of the modes described so far. So I literally googled (major scale flat six) as I was guessing that it had been built on some mode from that and I found it is called the Harmonic Major, which I honestly did not know existed(most of my music experience is from about Wagner backwards so I love your page). The piece starts with the 4th mode of that basis and the reference chart calls it Mixolydian flat 9. Anyway maybe you can also cover this in your theory sections:) Thanks again for your page. Been following almost since you started explaining interesting modes and concepts!
Rick, what an amazing job you're doing! I look up to you!!
Fantastic!! Thanks for another complete material for studying!
Oh boy...I thought this would be a bit easier than this explanation. I may have to watch this again. Thanks for the detailed description of how to read the chords!
Great Lesson, Rick! Thanks for posting.
Great analysis of slash chords and application of scales on slash chords
Great video Rick, as a big Steely Dan Fan { MU } i use these chords a lot ..... I did learn how to use scales over these and i thank you for that .
Wow!! Thx a lot Rick. Amazingly explained.
thank you very much this made my day, finally found the best video on slash chords
Thanks a lot, Mr. Beato, and I'm glad to see you and Nelson Faria together next thursday. Lord bless you.
I remember first learn this kind of thing with couple specific chord voicings and was called the "Magic Chord". We took a voicing and figured out what the chord name would be changing the bass note to each note of chromatic scale. Bottom line learned all chords have multiple names depending on how you use them
Thanks for this! I've been look for a video on this subject.
Thanks! I think your great! I bought your book, keep it coming !!
Thanks RIck. great video... slash chords were always a mystery to me.
I find that thinking of even first and second inversion chords as a bass note with a triad above it is helpful. For instance, the "All Right Now" riff has a D/A to A in it with notes A F# A D down to A E A C#. D/A has a more "hanging" feeling than a D in root position. It feels much more like a sus chord than allowing the root to move would. First inversion chords like D/F# also sound quite different and again I think more about the bass note and the chord above it. So yeah, they're both just D chords, but not just D chords. And D/A or D/F# is a heck of a lot easier to read on a chart.
Thank you, again, for going really deep. I'm doing this every day (transcribing, arranging, composing, playing, sequencing, teaching, the whole shebang - which is a 'must' for musicians today) but it's always fantastic having complete information to fill-in the gaps (IMHO even the best don't know everything) - never enough. I feel like I'm always "midway" regarding my humble skills. There seems to be no such thing as complete knowledge about music, but that doesn't keep us from learning every day. Best music teaching channel on UA-cam - hands down!
never stop learning...we signed on to always be a student, could do worse than constantly growing.
Some are comfortable with using composition as a means of applying concepts to refine their craftsmanship; uploading each one to the public domain can be a cool next step but it is not a requirement.
I can hear frogs and crickets in the background. 😁
it's awesome, kind of like going to music theory camp for a night.
That's an F/C chord. Nyuk nyuk nyuk.
Hey Rick thanks so much...
nice, very usefull to think E/D# as phrygian! thx, ps.: revisiting this lecture 2 years after the first time
Thanks Rick!
Thanks, Rick.
Am I the only one who thought this is a video of some magic chords of Slash?! :))))
Otherwise great work Rick! I am a huge fan!
Love the sounds of nature in the background. What key are the frogs croaking in?
With a #5 in bass, one might (rightly or wrongly) surmise that the Ionian Augmented would be the most natural scale to use, without having to introduce the #4 (F#)of the suggested Lydian?
Great Lessons
Keep 'em coming!
Many Thanks
Handy things these "Slash Chords" !
E/Bb is also a Lydian chord. I've seen John McLaughlin use it in some old Mahavisnu footage.
The E/Bb chord... The sound is out of this world
Famous use of E/D is in Jobim's Waters of March song. In that case B/A. Thx Rick!
Yeah Rick, reminds me of the days I wore the grooves out of Pat Metheny's "Bright Size Life" record. thanks for always making me think
Thanks Jay!!
Thanks, now this is all clear.
I also like to use Root/maj 2nd chords as m11 chords using minor or dorian scales to improv over them. Another use for those chords! Nice content Rick, much appreciated!
Eddy Shin I do as well. I was trying to show the most common use which is as a dominant 11 chord
I was wondering, since in E/F# there is no 3rd to imply the chord quality would it be more proper to call it a sus9 chord since there is root/b7/9 and 4 (11)?
Thanks a lot for doing this video! I've been searching the internet for months trying to find a decent explanation of slash chords. It seems to me a lot of people have trouble defining their quality and function.
Excellent!
Duh, You play them on Guns n Roses songs.
We're in the jungle now.
Duff is the man
took me 15 mins to realize its (not) so easy
Well, that's because you have (n't) seen my sister in a Sunday dress.
I Could've chosen a less creepy line...
you're crazy!
and i thought i knew about chords... Thanks for the teachings :)
I think you could produce a new super group.
Your knowledge is incredable
Thanks man!
thanks so much
Rick, thank you so much for your videos! I want to ask you if you can explain how to play piano chords like.... Ab13 or Gm7/F ... I am learning to play piano but now those type of chords are freaking me out a bit! Greetings from Colombia! :)
These videos are great Rick, you're doing a huge favor for a lot of musicians out there.
On the E/Bb I think you also could use Locrian or would that be wrong?
+Petter Valderhaug You can. That particular chord a multi use chord. Locrian would be for when it’s functioning as a non-dominant chord.
Thanks for the reply Rick, you're doing a phenomenal job with this channel!
I love slash chords! I tend to go beyond just triads, though, and do things like C7/Eb (implying Eb13(b9), using the phrygian-dominant scale - think Hava Nagalia or Miserlou).
wha?
Great video
and i thought that learning the basic three chord inversions was hard....
So quick on the draw with these translations!
The half-whole scale that Rick calls "Diminished Dominant scale", we called the "Symmetrical Dominant scale".
The formula is 1-b9-#9-3-b5-#5-6-b7; so it's a Dominant scale due to the 3-b7 that also contains the two altered 9ths and the two altered 5ths.
It will work over Dominant chords with either b9 or #9 as well as b5 or #5.
the symmetrical dominant (H/W) scale is actually 1-b9-#9-3-#4(b5)-5-6-b7. Maybe you're thinking of the altered dominant: 1-b9-#9-3-#4(b5)-#5-b7
I thought I invented the tonic diminished chord, but this is the first I've ever heard of it actually having a name. Nice! Diminished Maj7? Yeah, I like it!
This should be in the Beato Book
WARNING: Music Theory incoming, and Beato is not afraid to write some equations.
Hi Rick. Excellent video and thank you for showing. I'm not really a jazz guy, so I'm likely missing something here. My question is: to use the F# mixolydian over your 2nd example (E/F#), wouldn't that have to assume that the E triad is from lydian, in the key of B ? In other words, we need to assume a key, within this context, but the key is not shown. There is nothing in the chord name "E" that tells us it lies within the framework of the key of B major (the key that would make E function as lydian (if we spell its full scale E lydian). I say this because your example includes an A# (in order to give the F# a major third in order to define it as Mixolydian. In no way does the E triad designated on the top of the slash indicate that this E triad in question is necessarily formed from E lydian. So, from this, could it be concluded that using the F# Mixolydian scale, in this example, would only work if the overall key this slash chord is appearing in would be B? Could we therefore assume that if this slash chord appeared in the key of A, we would use an F# natural minor, in order to account for the fact that, in the key of A, The third of the F# would be A natural? Thanks.
Hello!! Wonderful video!! May I ask ? Around 9:24 you say it could be Dorian depending on its function. I am new to modes. When you say this, does this mean or say using Dorian would mean starting a scale as C# DORAIN or the Dorian mode of C# which would require moving up 1 while step which would make Dorian START ON Eb?
That F augmented major 7th sounds so cool. I’m tempted to abuse its use.
So in essence, slash chord are just a modal way of looking at chords? I think I get it now, cheers, will need to watch the video another few times and internalise mind you. Cheers again great video.
Hey Rick!!Can you please do an instructional on The Black Page. The transcription is pretty hard and it'd would be of great help. And also how to notate those kind of lines. Thanks!! :)
Great
Hey Rick, just wondering when you will be uploading the newer Sounding Off series for podcast. I keep checking iTunes. Can't wait to hear episode 2 and 3! Makes my long drives to work a lot more interesting/educational. Thanks so much.
+blacknotestudios i'll try and get a couple uploaded today
Thanks Rick! I look forward to hearing Aydin Esen, Mark Isham, and the mighty Dennis Chambers. Mr Vai's interview was informative and not like any interview he has done before. Well done and thank you.
I realize this is an old video on slash chords. Don't know if I will get response, but here goes.
I have been trying to learn "The Goodbye Look" from Donald Fagen. In the first verse (a line of women all in white) there is an A/F followed by an F6. When I played the slash chord I realized I had heard this particular 2-chord thing in other songs, mostly Brazilian. Elise Regina's "Vivir Aprendendo Jogar" comes to mind.
Can you tell me about this? Does the progression have a name? I can feel a sense of tension and resolution in the sequence.
Looked at the video a few times and realized what you were doing. A/F is analogous to E/C. So the sequence becomes Fmaj7#5 moving to F6. Bidirectional resolution? #5 up to 6 and maj7 down to 6. Compare with Fmaj7 to F6.
Think I learned something today!
Thanks,
Alan Mayne
ok. While I understood a bit of what I watched, I think this is a bit advanced for me. I'm going to keep practicing and come back to this after I've dun lerned more stuffs.
I like half whole diminished over altered Dom.s, but I really dig the altered scale (7th mode of melodic minor)
i now write all my chords like this, it makes it simpler to write all the intervals
Would love to hear an analysis of PUD WUD
Rick, have you made a video where you discuss diminished 7th chord functions and their different spellings? Thanks for today's video!
Hjalmar Jakobsson I have three very in-depth videos on the diminished scale. Just go back about 30 videos and you'll find the latest one
alright! i'll check em out
Dude this is amazing thank you!
Thx Rick, what about the minor slash chords?
In E/A you can also use A minor harmonic scale, sounds cool...😉
Rick, a few thoughts to pass on that might be of interest with your background as a *music* *educator.*
Have you heard of *Teachur?* They had a successful Kickstarter where they are trying to disrupt the "normal" U.S. college education process with it's spiraling prices, and develop an alternative. (search for "kickstarter Josh Stanley")
In essence, their goal is to use their knowledge of how "college works", leverage emerging technology (blockchain), and facilitate focused use of the preponderance of educational materials available on the internet to map out (stating the obvious):
college degrees require ->
requisite courses which require ->
defined learning objectives ->
sources to learn and master these objectives
which can then be demonstrated as sufficiently mastered by students to qualify each course towards a degree by using technology (blockchain) based testing, or simply think of proctored tests, but with the addition of a digital record of how well each concept was grasped (think of it as creating a digital record of every answer given on every test towards a degree and being able to review individual answers as a potential employer to see that a candidate truly understood a particular study area, as opposed to simply "graduated with XX GPA").
You could as well oversimplify the effort as constructing some new form of virtual "Wikipedia", where the contents are arranged to map out in detail a progression of internet available knowledge that completely fulfills a degree plan. Their goal is to offer fully accredited degrees in a number of subjects, starting with Philosophy.
Just wanted to pass this on, because I believe they, or *someone* can and should be successful in making this happen, and that means in the future, that somebody is going to assemble this hierarchy for degrees in the music field. It's clear to me that you, and dozens of others on youtube together are approaching the critical mass of having entire college level music courses available online, albeit in splintered and scattered form.
So I wanted to make you aware in case there is a possible interest in your part of reaching out to them (I'm not affiliated in any way) to possibly discuss *the* *future* *of* *music* *education,* as their model may be able to take it in the future. I'm hopeful that someone like Teachur can come along and accomplish a few things:
1. Road Map out all this knowledge to a progression that can result in a college degree for those interested (assemble all the splinters into something greater, focused, and purposeful)
2. Guide interested learners to Best or Better sources of information on subjects of interest as a side benefit (think of someone like you grading youtube music theory videos for quality of learning with 1-5 star ratings for example)
3. Drive the quality somewhat as the marketplace focuses on this new goal for content authors, and have knowledge gaps filled by new content creation in order to deliver on all learning objectives without exception
If Teachur is to succeed and one day bring their benefits to the musical field, they will need guiding lights to help point them in the right direction... perhaps you or someone you know would be interested in getting involved. Thanks for listening and for your great videos.
the cricket noise's in the background is great
E/F = A Harmonic minor
E/Bb = Bb Super Locrian (B Melodic minor) scale. I would like to see if anyone found ways minor pentatonics (mostly C# minor pent) can be used over some of these
the sound of mating frogs in the back is absolutely beautiful lol
The E/C Cmaj7#5 I call the "Uh-oh" chord. It was Perry Mason's favorite chord.
Please do a 'Sounding Off' with Todd Rundgren, the maestro of pop slash chords!
As is Larry Carlton
not guns and roses guitar ist lol I love this so much
For E/F (the first one) you put on the board the first inversion of E over the F. You put F G# B E (F + 1st inversion of E).
For all the other chords, you just put the note and then the E major triad. For example, for E/D you put D E G# B (D + E major triad). For E/C, you put C E G# B (C + E major triad). Etc.
Only for E/F did you put an inversion rather than the major triad itself. Why?
Could you play C# phrygian over E/C#?
can you throw a seventh chord over a bass note in the same way or even denote figured bass of a triad over a bass note (ie. EbmM7/B)
You have successfully just took all the fun out of playing guitar.
so how do you actually use them? Do you just take any of those and try to fit them somehow in a chord progression, or you use some of them based on functions?
how about minor chords with different bases? Could you do a video with slash minor chords?
Great Lesson but I disagree with some of your mode suggestions. If I may. E/F# you say Mixolydian, that works. But Dorian would work as well, depending on the progression of course. Thats just one. I have others. Either way, I appreciate the lesson and it was informative and well presented
thanks Rick, it would be very interesting to know where you can fit these chords in? an E/F e.g.?
+Barefoot67 that's on its way today!
Excellent! Looking forward to it, thanks!
@@RickBeato Love from India, please share the link of that video, Rick!
69K views fora Music Theory video says alot about RB 👍🎸🎶🤘😀
Got to go over it
I could play the locrian scale on the last chord you mention, can't I?
Couldent Lydian Dominant be used for E/F#?
Thanks Rick! What about a Minor Slash Chords- What Are They and How To Use Them?
ur so funny.
+deckobreaks One video at a time. That would've doubled the length of the video and made it more difficult to memorize the bass relationships.
the same. if you look at a minor interval as being an inversion of another major chord (relative minor).
Makes sense. I always forget about relatives!
deckobreaks it's a handy trick. Of course the 3rd minor (Phrygian if you will) can also be considered an inversion of a tonic major chord so that adds an element. Ultimately the easiest way to think about it is like the way Rick lays it out. It's easy enough to do on both piano and guitar. Just play whatever chord you're using as the base chord and add whatever root note under it. Some of the fingerings can be odd but ultimately all you have to say is ok what do these notes yield? Chord plurality makes everything confusing from an analysis standpoint but it's really not so bad. Ultimately you're just playing 4-5 notes so it's just saying what those notes make to you
Here's a question: Could that E/D also be considered a D69flat5?
Hi Rick I love your channel, you look like John Petrucci. Dylan is a genius!! Can you do a video entitled a day in the life of Dylan. What is Dylan's favourite dish? Does Dylan study when he wakes up or at night? I'd like to know how you made him!
+J Osterlau It's easy, wake up, go to school,
Come home, play video games, go to soccer practice, eat, Play video games again, go to bed.
Really??? Must be the genes then, naturals!! That's logical then, your parents and obviously yourself are highly intelligent individuals. It's like Dylan already has the potential to become a brain surgeon or a rocket scientist or whatever he wishes to be as long as the motivation is there. Keep up the good work Rick!
I can confirm this! :)
Creepy....
8:45
Rick: that's a Pat Metheny chord
Rick from the future: and one day you'll get to ask him about it on camera
Hey Rick, there is no minor slash chords? I mean same thing but putting bass notes into minor chords
why do you use mixolydian over a sharp11, ? i thought 11 was 4 so it would be lyidan
Small detail... but at 10.20 why does Rick not call the E/D& scale a Lydian Dominant?
Hey Rick you got any tips for transcribing music?
I'm also interested
Rick is not responding to his subscribers questions, very busy man that he is. :-)
do it daily, that is the only trick. It's all about practice and getting to where you don't need an instrument to do the takedowns.
I made a little test and wrote down every songs chord progression on spotifys top50 list, boring music but simple chord progressions to start with. I noticed it got much easier to recognize common chord progressions, passing chords and chord relationships after a couple songs.
Exactly
Why is e/f a flat 9 and not a flat 2? Do you have to try to avoid even numbers?