Example9 ADDED TENSION SLASH CHORDS
So, dominant chords can be made more tense (while maintaining their function), with the use of slash chords. The same can be done for major and minor chords. Tension can be added with the basic essence of the chord maintained. One example is that a major 7 chord (say Fmaj7) can be made more tense in 3rd inversion, (F/E). This beautiful chord can be found from Bach to Ravel to Bowie. Another more tense approach can be made on a minor chord, so long as there is a minor 3rd; a major 7th may be added as well as a #11(or 5) both adding a magical quality. So G minor can be replaced with F#/G, which is still in the minor ‘family’ but a far more mystical sound. Similarly,
Gbmaj7) Bb/Gb a maj7 chord (say can be substituted with for an exotic maj7#5 sound. Here’s the ‘original’ chord sequence, followed by the ‘added tension’ chords in the contemporary jazz style. The use of slash chords means that there can be a nice voice-led series of upper chords with a counter melody bassline. Check out Not Ethiopia by the Brecker Brothers for a great example of this.