Ex­am­ple 5 Chord Sub­sti­tu­tions and Slash Chords

Guitar Techniques - - Play: Chords -

In this C ma­jor-based ex­am­ple, we are deal­ing with two con­cepts - sub­sti­tu­tion – which we’ve al­ready touched upon – and slash chords. Slash chords are sim­i­lar to the in­verted chords of ex­am­ple 1, but slash chord is a more gen­eral term. Whilst the in­ver­sion must have a chord tone in the bass, a slash chord can use any note in the bass of any chord. So go ahead and ex­per­i­ment with putting var­i­ous notes un­der ev­ery chord you can think of. I love the sound of a ma­jor chord with a mi­nor 7th in the bass as it oc­curs in bar 2 and 4 (C/Bb and F/Eb). You can see bars 6 and 8 as tri­tone sub­sti­tu­tions. If you imag­ine bars 5- 8 be­ing based on a stan­dard I-VI- II-V pro­gres­sion, and the VI (A7) and V (G7) chords are al­tered dom­i­nant chords (#5, b9, #11), you will see that these con­tain much the same notes as the chords they have been sub­sti­tuted with (Eb9 and Db9). In ad­di­tion, no­tice how you al­ways achieve a smooth chro­matic bass move­ment when us­ing tri­tone sub­sti­tu­tion in this fash­ion. Bar 10 is an­other cool move, where we turn the III chord, which would usu­ally be mi­nor, into a dom­i­nant; this leads nicely into the next chord (F7), giv­ing it a bluesy feel in the process. You can hear a great ex­am­ple of this par­tic­u­lar move in (Sit­tin’ On) The Dock Of The Bay. Bar 12 has an­other text­book ex­am­ple of tri­tone sub­sti­tu­tion (Db13), be­fore ven­tur­ing into slash chord ter­ri­tory again - as you might hear it on a Joe Sa­tri­ani track - be­fore end­ing on the thought­ful G/C, which you could also see as a sim­pli­fied ver­sion of a Cmaj9.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.