BAJPYear4

WrittenAnalysisProject

Exploring
AmbiguousHarmony
WithTriadicSlashChords

MathiasBaumann

Thesonorityofaconstanttriadoverarootisstark

andsometimescreatesmissingnote,nonmodalchords,

buthasadesiredbeautybecauseofitstransparency.

RonMiller,ModalComposition&HarmonyVolume1

TableOfContent

UseOfSymbols

Introduction

FundamentalConsiderations

Definitions

Generalisations

Categorisations

PerceptionOfSound

SlashChordVersusConventionalChordName

SlashChordsAndTheirSounds

MajorTriadicSlashChords

MinorTriadicSlashChords

AugmentedTriadicSlashChords

DiminishedTriadicSlashChords

SuspendedTriadicSlashChords

AddingTensions

AnalysisOfMelodiesAndSolos

GeneralObservations

FurtherSonorities

SupplementaryCreativeConcepts

Conclusion

FurtherReading&Bibliography

05

06

07

07

07

08

10

12

13

13

14

15

16

17

18

19

30

31

37

39

39

AudioCD

01
PerceptionOfSound

02
Sleep(BenMonder)

03
Arjuna(ChrisPotter)

04
NewForNow(JonathanKreisberg)

05
JackysPlace(MarkTurner)

06
Zhivago(KurtRosenwinkel)

07
Aspire(KennyWheeler)

08
TheSixteenMenOfTain(AlanHoldsworth)

0925 FurtherSonoritiesExamples0117

DataCD

Appendices

Appendix1Chord/ScaleRelationships

Appendix2ScaleSyllabus

Appendix3GuitarVoicings

Appendix4Exercises

Appendix5UsingSlashChordsForSuperimposition

Appendix6UsingSlashChordsForComping

Appendix7Polychords

ImprovisationExercisesAudio

PolychordsAudio

SlashChordCompingAudio

SlashChordSuperimpositionAudio

SlashChordsAndTheirSoundsAudio

page10
page19
page22
page22
page23
page26
page27
page28
page31

UseOfSymbols

1) InthisessayIwillmostlyusesymbolsintheanalyticalchordsymbols.Anychord
canalsobenamedusingitsenharmonicname.

2) Triadicandcompoundslashchordsarewrittenwithaforwardslash(/)symbol:

F/C

or

Amaj9/C

3) Polychordsarewrittenwithahorizontalline:

Amaj9

C
C

4) Upperstructureromannumeralsinslashchordsrepresentthescaledegreeandthe
functioninrelationtothebassnotewhichalwaysusestheRomannumeralI.

Examples:

B/C=VII/I
or
Dm7/C=IIm7/I

For a thorough understanding of the analytical content in the following chapters it is

Introduction

Therearenumerousreasonsforstudyingandknowingaboutthenatureofslashandpoly
chords:

1. Many compositions use slash chords and therefore it is important to know what
melodiccontentcanbeusedforsoloimprovisation.

2. Slash chords are a useful resource to creatively reharmonise chord progressions and
createmoreambiguoussounds.

3. Superimposing triadic structures over regular chord changes can be effective when
improvisingandcomping,bothindiatonicbutespeciallyinamodalcontext.

4. Utilizingandintegratingcompoundchordsincompositionshelpstodevelopinnovative
ideasandharmonicscopes.

When asking jazz guitarist Jim Mullen about his approach to playing over slash chords he
states:

Slashchordsareveryspecific.
Ipreferlessspecificchordstohavemoreoptionswhenimprovising.1

Consequentlytwoessentialquestionsarise:

1) Whatgivesslashchordstheirspecificsound?
2) Doslashchordslimityouroptionsinimprovisation?

Theobjectiveofthisessayisthereforetoexplorethenatureofambiguoussoundingslash
chords used in jazz compositions with focus on nonchromatic harmony. This shall be
achievedbyfirstlyanalysingthegeneralnatureofslashchords,andbysecondlyexamining
their practical chordscale application in improvised solos and beyond. In conclusion, I
intend to give an insight to the sounds of different compound chords and reveal the
answerstotheaboveproposedquestions.

MasterclasswithJimMullen,Dublin,24/01/2013

FundamentalConsiderations

Definitions

Anychord(rootpositionorinversion)playedoverabassnoteotherthantherootnoteof
theupperstructurechordformsaslashchord.Aslashchordcanconsistof

1) asimpletriadicchordandabassnote,

Example:F/C

2) aricherchordwithoneormoretensionsandabassnote,

Example:Amaj9/C

3) twodifferentchordsformingapolychord.

Example:D_
orGm
C
C7

Generalisations

Asthereare12enharmonicallydifferentpitchesthereareatotaloftwelvedifferenttriadic
slashchordsineachofthetriadiccategories:

majortriadoverbass,
minortriadoverbass,
augmentedtriadoverbass,
diminishedtriadoverbass,and
suspendedtriadoverbass.

Outof60possibilities14chordshaveoneofthenotesintheupperstructuretriaddoubled
inthebass:

I/I,IV/I,VI/I

Im/I,IVm/I,VIm/I

Iaug/I,IIIaug/I,IVaug/I

Idim/I,Vdim/I,VIdim/I

IVsus4/I,Vsus4/I

Additionallythereareonlyfourdifferentaugmentedtriadicslashchordsounds:

Iaug/I

IIIaug/I

VIaug/I(>alreadyeliminated)

IIaug/I

IVaug/I

VIaug/I

IIaug/I

Vaug/I

VIIaug/I

IIIaug/I

Vaug/I

VIIaug/I

Conclusively,thereare40slashchordscontainingfourdifferentnotes:

II/I,II/I,III/I,III/I,V/I,V/I,VI/I,VII/I,VII/I

IIm/I,IIm/I,IIIm/I,IIIm/I,Vm/I,Vm/I,VIm/I,VIIm/I,VIIm/I

IIaug/I (=IVaug/I,=VIaug/I),IIaug/I(=Vaug/I,=VIIaug/I),IIIaug/I(=Vaug/I,=VIIaug/I)

IIdim/I,IIdim/I,IIIdim/I,IIIdim/I,IVdim/I,Vdim/I,VIdim/I,VIIdim/I,VIIdim/I

IIsus4/I,IIsus4/I,IIIsus4/I,IIIsus4/I,Vsus4/I,VIsus4/I,VIsus4/I,VIIsus4/I,VIIsus4/I

Categorisations

In his book The Advancing Guitarist, Mick Goodrick structures slash chords into three
categories:

1) ObviousSeventhChords
2) LessObviousSeventhChords
3) HybridStructures

Since there are many different ways to define various chord types I decided to use the
followingcategorisationinthisessay:

1) CompleteChords
2) ChordInversions
3) IncompleteChords
4) Polychords

Type1:CompleteChords

Type 1 slash chords are written as a slash chord but actually represent a complete chord
with the bass note being the root note. The term complete implies a full chord voicing
consistingofrootnote,third,fifthandseventhorequivalentsubstitutenotes.Usuallyitis
easierandmorecommontowriteaconventionalchordsymbolinstead.
Themainreasonforusingthisslashchordtypeistosuggestatriadicvoicingontop.

Type2:ChordInversions

Type 2 slash chords are constructed of an upper structure chord which is played over a
chordtoneinthebass.

Type3:IncompleteChords

Type 3 slash chords consist of an upper structure chord which is played over a nonchord
tone. The bass note becomes the root function of the slash chord creating an ambiguity
which makes it difficult to identify the chords function and sound. The term incomplete
impliesthateitherthethird,fifthorseventhofthechordisnotpresent.

Type4:Polychords

Type4slashchordsaretwodifferentchordsplayedatthesametime.Polychordsareeither
used in chromatic harmony or when a very specific sound is desired. With only a few
exceptionspolychordsrepresentcompletechordsoundsandareunequivocal.

PerceptionOfSound
CDTrack01

RonMillerschordconstructioninorderofincreasedtension 2suggeststhatthesonority
of the major upper structure chord stays the same, while the tension created by the
distanceofthetriadtotherootnoteimpliesacertainmodality.

I/IIV/IV/I bVII/III/I bIII/I bVI/I III/I bII/I VI/IbV/IVII/I

IonianMixolydianLydian AeolianLydian Phrygian AlteredLocrianLydian(#9)

Nevertheless,theperceptionofharmonictensionisverysubjectiveandalsodependanton
theoretical knowledge, playing and listening experience. Sounds can therefore be
interpreted in many different ways. The categorisation on the following page is my
subjectiveinterpretationoftriadicslashchordsoundsandincludesalltypesoftriads.

2/3
ModalComposition&HarmonyVolume1,RonMiller
10

HarmonicTensionofslashchordsoundsasperceivedbyMathiasBaumann:

11

SlashChordVersusConventionalChordName

Composersandarrangers,aswellasperformers,sometimesfacethesituationofhavingto
giveacertainsoundaspecificname.Thequestioniswhethertouseaconventionalchordor
aslashchordsymbol.

Thenameofthechordisdependentontheperceptionofthesound.
Generallyitisrecommendedtousenamesofrenownedsoundsfirst,asourbrainiscapable
ofconvertingafamiliarchordsymbolintoasoundexperience.
A new sound is much easier to understand when it can be connected with something
alreadyfamiliar.

Followingaretwoexampleswhichexemplifymystatement.

1) Em/CorEbm6/C=Cm7(5)
Ourearswillmostlikelyidentifythischordasam7(5)chord.Consequentlyitwouldbe
bettertousetheconventionalchordinsteadoftheslashchordsymbol.

2) Cmaj7(9)=Em6/C
The sound of this chord is unfamiliar to most people. Em6 though is a common used
chord,hencetheuseoftheslashchordinsteadoftheconventionalchordname.

Please note that a conventional chord symbol can be played in different voicings and in
manydifferentways,whereastheslashchordsymbolusuallyimpliesaclosevoicedupper
structurechord.

12

SlashChordsAndTheirSounds
DataCD,SlashChordsAndTheirSoundsAudio/...,Tracks0148

InthischapterIhavelistedalltriadicslashchordsandprimaryscalesounds.
Inafunctionalcontextslashchordsareusuallyconnectedwithaparticularprimarysound.
Inthefollowingsummarytablesprimarysoundsareshowninaredfont.Amoredetailed
overviewincludingmoreoptionalscalesoundscanbefoundinappendix1ontheDataCD.
Thesuggestedscalesarealwaysdependentontheharmonicandmelodiccontext,aswellas
subjectiveperceptionandexperience.

MajorTriadicSlashChords

Type

CD
Track

DbLydian,Ionian

01

Cm7(b9/11/b13)

CPhrygian

1,b9,4,b13

C7(9/13)sus4

CMixolydian(b9/b13)

D/C

b7,1,3,5

D7/C

DMixolydian

02

1,9,#11,6

C6(9/#11)

CLydian

1,9,#11,13

C13(#11)

CLydianDominant

1,9,#11,13

Cm6(9/#11)

CMelodicMinor(#11)

bIII/I

Eb/C

1,b3,5,b7

Cm7

CDorian,Aeolian

03

III/I

E/C

1,3,#5,7

Cmaj7(#5)

CLydianAugmented

04

IV/I

F/C

5,1,3,5

F/C

FIonian

05

bV/I

Gb/C

1,b5,b7,b9

C7(b9/b5)

CAltered

06

1,b5,b7,b9

Cm7(b9/b5)

CLocrian

G/C

1,5,7,9

Cmaj9

CIonian,Lydian

07

1,5,7,9

Cmmaj9

CMelodicMinor

Chord
bII/I

II/I

V/I

Example

Intervallic
Structure

ImpliedSound PrimaryScale(s)

Db/C

7,1,3,5

Dbmaj7/C

1,b9,11,b13

13

bVI/I

Ab/C

3,1,3,5

Ab/C

AbIonian,Lydian

08

1,#5,1,#9

Cmaj7(#9/#5)

CLydianAugmented(#9)

1,b13,1,b3

Cm7(b13)

CAeolian

A/C

1,13,b9,3

C7(b9/13)

CDiminishedHalf/Whole

09

1,13,b9,3

Cmaj13(b9)

CLydian(b9)

Bb/C

1,b7,9,4

C9sus4

CMixolydian

10

1,b7,9,11

Cm11

CDorian,Aeolian

B/C

1,7,b3,b5

Cdim7(addmaj7)

CDiminishedWhole/Half

11

1,7,b3,#11

Cmmaj7(#11)

CMelodicMinor(#11)

1,7,#9,#11

Cmaj7(#9/#11)

CLydian(#9)

Type

CD
Track

DbMelodicMinor

12

CAltered

VI/I

bVII/I

VII/I

MinorTriadicSlashChords

Chord
bIIm/I

Example

Intervallic
Structure

ImpliedSound PrimaryScale(s)

Dbm/C

7,1,b3,5

Dbmmaj7/C
C7(b9/b13)or

1,b9,3,#5

Dm/C

b7,1,b3,5

Dm7/C

DDorian,Aeolian

13

1,9,11,6

Cm6(9/11)

CMelodicMinor

1,9,11,13

C13sus4

CMixolydian

1,9,11,6

C6(9)add11

CIonian,Lydian

bIIIm/I

Ebm/C

1,b3,b5,b7

Cm7(b5)

CLocrian

14

IIIm/I

Em/C

1,3,5,7

Cmaj7

CIonian,Lydian

15

IIm/I

C7(b9/#5)

14

Fm/C

5,1,b3,1

Fm/C

FDorian,Aeolian

16

1,11,b13,1

Cm7(11/b13)

CPhrygian

1,11,b13,1

C7(b13)sus4

CMixolydian(b13)

bVm/I

Gbm/C

1,b5,13,b9

Cm13(b9/b5)

CLocrianDiminished

17

Vm/I

Gm/C

1,5,b7,9

C9

CMixolydian

18

1,5,b7,9

Cm9

CDorian,Aeolian

bVIm/I

Abm/C

1,#5,7,b3

Cmmaj7(#5)

CHarmonicMinor

19

VIm/I

Am/C

b3,1,b3,5

Am/C

AAeolian,Dorian

20

1,6,1,3

C6,Cmaj13

CIonian

Bbm/C

1,b7,b9,11

Cm11(b9)

CPhrygian

21

1,b7,b9,4

C7(b9)sus4

CMixolydian(b9/b13)

Bm/C

1,7,9,#11

Cmmaj9(#11)

CMelodicMinor(#11)

22

1,7,9,#11

Cmaj9(#11)

CLydian

Type

CD
Track

IVm/I

bVIIm/I

VIIm/I

AugmentedTriadicSlashChords

Chord
bIIaug/I
=
IVaug/I
=
aug
VI /I
IIaug/I

Example

Intervallic
Structure

ImpliedSound PrimaryScale(s)

Dbaug/C

7,1,3,#5

Dbmaj7(#5)/C

DbLydianAugmented

23

1,b9,11,13

Cm13(b9)

CPhrygian(n6)

1,b9,4,13

C13sus4(b9)

CMixolydian(b9)

Daug/C

1,9,#11,b7

C9(#11)

CLydianDominant

24

1,9,b5,b7

Cm9(b5)

CLocrian(n2)

=bVaug/I
=
bVIIaug/I

15

bIIIaug/I

Ebaug/C

1,b3,5,7

Cmmaj7

CMelodicMinor

25

=Vaug/I

CHarmonicMinor

=
VIIaug/I

Caug=Eaug=
IIIaug/I

Eaug/C

1,3,#5,1

Abaug

CWholetone

26

=Iaug

Type

CD
Track

=
bVIaug/I

DiminishedTriadicSlashChords

Example

Intervallic
Structure

ImpliedSound PrimaryScale(s)

bIIdim/I

Dbdim/C

1,b9,3,5

C7(b9)

CMixolydian(b9/b13)

27

IIdim/I

Ddim/C

b7,1,b3,b5

Dm7(b5)/C

DLocrian

28

1,9,11,b13

Cm11(b13)

CAeolian

1,9,4,b13

Cmaj9(b13)sus4

CHarmonicMajor

1,9,4,b13

C9(b13)sus4

CMixolydian(b13)

bIIIdim/I

Ebdim/C

1,b3,b5,bb7

Cdim7

CDiminishedWhole/Half

29

IIIdim/I

Edim/C

1,3,5,b7

C7

CMixolydian

30

IVdim/I

Fdim/C

1,4,b13,7

Cmaj7(b13)sus4

CDiminishedWhole/Half

31

bVdim/I

Gbdim/C

1,b5,bb7,1

Cdim7

CDiminishedWhole/Half

32

1,#11,13,1

Cmaj13(#11)

CLydian

Gdim/C

1,5,b7,b9

C7(b9)

CMixolydian(b9/b13)

33

Cm7(b9)

CPhrygian

Chord

Vdim/I

16

bVIdim/I

Abdim/C

1,#5,7,9

Cmaj9(#5)

CLydianAugmented

34

VIdim/I

Adim/C

1,bb7,1,b3

Cdim7

CDiminishedWhole/Half

35

1,6,1,b3

Cm6

CDorian,MelodicMinor

bVIIdim/I

Bbdim/C

1,b7,b9,3

C7(b9)

CMixolydian(b9/b13)

36

VIIdim/I

Bdim/C

1,7,9,11

Cmmaj9(add11)

CMelodicMinor

37

1,7,9,4

Cmaj9sus4

CIonian

Type

CD
Track

SuspendedTriadicSlashChords

Pleasenotethatasus2chordrepresentsthefirstinversionofasus4chord.

Example

Intervallic
Structure

ImpliedSound PrimaryScale(s)

Dbsus4/C

1,b9,b5,b13

Cm7(b9/b5/b13)

CLocrian

38

1,b9,b5,#5

C7(b9/b5/#5)

CAltered

Dsus4/C

b7,1,4,5

D7sus4/C

DMixolydian

2,3

39

b7,1,4,5

Dm7(11)/C

DDorian,Aeolian

2,3

1,9,5,6

C6(9)orCmaj13

CIonian,Lydian

1,9,5,6

Cm6(9)

CMelodicMinor

1,9,5,13

C13

CMixolydian

bIIIsus4/I

Ebsus4/C

1,b3,b13,b7

Cm7(b13)

CAeolian

40

IIIsus4/I

Esus4/C

1,3,13,7

Cmaj7(13)

CIonian,Lydian

41

IVsus4/I

Fsus4/C

5,1,4,5

Fsus4/C

FIonian,Mixolydian

42

1,11,b7,1

Cm7(11)

CDorian,Aeolian

1,11,b7,1

C7sus4

CMixolydian

Chord
bIIsus4/I

IIsus4/I

17

bVsus4/I

Gbsus4/C

1,#11,7,b9

Cmaj7(b9/#11)

CLydian(b9)

43

Vsus4/I

Gsus4/C

1,5,1,9

Cmaj9

CIonian,Lydian

44

=Csus2

1,5,1,9

Cmmaj9

CMelodicMinor

1,5,1,9

Cm9

CDorian,Aeolian

1,5,1,9

C9

CMixolydian

4,1,4,5

Gsus4/C

GMixolydian

2,3

bVIsus4/I

Absus4/C

1,b13,b9,b3

Cm7(b9/b13)

CPhrygian

45

CMixolydian(b9/#9/b13)

C7(b9/#9/#5)or

1,#5,b9,#9

Asus4/C

1,13,9,3

C7(13)

CLydianDominant

46

1,13,9,3

C6(9)orCmaj13

CIonian,Lydian

bVIIsus4/I

Bbsus4/C

1,b7,b3,11

Cm7(11)

CDorian,Aeolian

47

1,b7,#9,4

C7(#9)sus4

CMixolydian(b9/#9/b13)

1,7,3,#11

Cmaj7(#11)

CLydian

48

VIsus4/I

VIIsus4/I Bsus4/C

C7(b9/#9/b13)

AddingTensions

Addingtensionstotheupperstructurechordofaslashchordcanresultinamorecomplete
soundwhichcaneitherenhanceorconcealtheperceivedharmony.
Itisimportanttoknowthattheambiguityandtherealnatureofaslashchordaremostly
accomplishedbyusingthebasictriadicform.Yet,tensionscanbeaddeddeliberatelyto
createaveryspecificsoundandvoicing.Theinclusionoftensiondependsessentiallyonthe
instrumentationforthemusicandthedesireddegreeofdensityand/orambiguity.
Theoretically any tension, even any combination of tensions, can be added to the upper
structuretriad.However,infunctionalharmonythecontextualharmonicanalysisdictates
thechoiceofchordscale.4

Harmony4,AlexUlanowski,Berklee

18

AnalysisOfMelodiesAndSolos

This chapter depicts examples of solo or melody excerpts which utilize slash chords. The
selectionisfocusedonambiguoussoundingchordswiththeobjectivetodisclosedifferent
possiblesonorities.

Example1:Sleep(BenMonderDust)

CDTrack02

Melody,Bars1214,Excerpt~023033

VIIsus4/IVIIsus4/I

=Esus4/F=Esus4/F

In bars 12 and 14, Ben Monder states Fmaj7(9/11) as the chord symbol to describe the full
soundofthechordinconjunctionwiththemelody.Theactualchordheisplaying,thoughis
Esus4/FwhichisVIIsus4/I,implyinganFmaj7(#11)sound.Inthesolosectionhereducesthechord
symboltoFmaj7(#11).Hereiswhatheisplayingoverit:

Solo,Bars6572,Excerpt~255307

In bars 6566, 6970 and 9899 he uses an F Lydian scale sound which conforms with the
primarychoiceforthischordtype.

FLydianFLydian

FLydian

SolotranscribedbyJeremyPoparad,http://www.poparad.com

19

Solo,Bars9299,Excerpt~341354

Whereas in bars 9495 he bases his line on the F Messiaen Mode 7 which supports the
Fmaj7(9/11) sound he used in bars 12 and 14 of the melody.In my masterclass about slash
chordsoundswithhim,hementionedthatheexploredMessiaensmodesforawhilewhich
supportstheassumptionoftheappliedscale.

FMessiaenMode7

Solo,Bars6061,Excerpt~245250

FLydian

bII/IIII/I

ELydianEmaj7(#5)Arpeggio

OverII/Iinbar60heclearlythinksofanEmaj7chordplayedoveritsmaj7thinthebass.On
the down beats he uses long notes featuring the root note E and the major 3rd G#. He
continues with an Emaj7(#5) arpeggio in bar 61 over a III/I chord. Again primary sounds are
preferred.

7/8

SolotranscribedbyJeremyPoparad,http://www.poparad.com

20

Solo,Bars7475,Excerpt~309312

VI/IbVImaj7/I

GbDiminishedHalf/WholeBIonianorBLydian

Eb/Gb represents a VI/I chord over which he clearly plays a descending Diminished
Half/Wholescalestartingonthe#9ofthechord.

Melody,Bar31,Excerpt~139

sus4
VII

/I

=G#sus4/A

Inbar31ofthemelodyheusesaVII/Ichordsymbol,butactuallyplaysVIIsus4/Iwhichisin
this case G#sus4/A. The implied sound is Amaj7(#11). On beat 3 he adds the #9 to the chord
resultinginanAmaj7(#9/#11)soundwhichcanbederivedfromLydian(#9).Thisscalehasbecome
anestablishedsoundincontemporarymusic.

SolotranscribedbyJeremyPoparad,http://www.poparad.com

21

Example2:Arjuna(ChrisPotterFollowTheRedLine)
CDTrack03

Melody,Bars1418,Excerpt~038046

Inbars15and17ofArjuna,ChrisPotterusesLocrianoverabII/Ichordinsteadofthemore
frequentlyappliedPhrygiansound.

bII/IbII/IbII/IbII/I

10

A/G#=G#Locrian

Example3:NewForNow(JohnathanKreisbergUnearth)
CDTrack04

TrumpetSolobyScottWendholt,Bars3337,Excerpt~236241

At the end of his first solo chorus Scott Wendholt presents an alternative approach for
playingoverfouradjacentcompoundchords.

bVII/IbVIIaug/IIII/IIII/I
F#m7

+b9
DHarmonicMinorBbLydianAug.(#9)AbLydianAug.

He uses an Harmonic Minor scale over bVII/I, continuing the same scale with an added
chromaticism (b9), when the upper structure chord changes its tension level to an
augmentedchord:bVIIaug/I.SubsequentlyhesuperimposesanF#m7arpeggiooverD/Bbwhich
results in a Bb Lydian Augmented (#9) sound. The primary choice would have been Lydian
Augmentedwhichheusesforthelastslashchordinthesequence.

10
SolotranscribedbyJeremyPoparad,http://www.poparad.com
22

TrumpetSolobyScottWendholt,Bars3337,Excerpt~305310

In the second chorus of his solo he simplifies his approach for the two bVII/I chords by
deployingaMixolydianidea.ForthefollowingtwoIII/Ichordshereversesthepreviousused
sounds:

bVII/IbVIIaug/IIII/IIII/I

DMixolydianBbLydianAug.AbLydianAug.(#9)

Example4:JackysPlace(MarkTurnerDharmaDays)
CDTrack05

ChordsOfIntro,MelodyAndSolo,Bars18,Excerpt~026057

FirstlyIwouldliketopointoutthatMarkTurnerschordvoicingsimplyslashchordtonalities
although written as conventional chords. This is what I was talking about in the chapter
SlashChordVersusConventionalChordNameonpage12.InbetweenthetwostavesIhave
convertedthechordprogressionintoslashchords.

Dmaj7sus2/FEmaj7sus2/CFmaj7sus2/A

B
=Atriad/D/F=Btriad/E/Cor=Ctriad/F/Ab
C

Esus4/F#D#sus2/BFsus2/DbFmaj7/G

23

EspeciallythesecondchordCmaj7(#9)isofinterestasitsuggestsaLydian(#9)soundwhichis
B
VII
supportedbyapolychordvoicing(=).
C
I

However, Fmaj7(#5), as well as Abmaj7(#5) are also relevant in our analysis since both imply a
LydianAugmentedIII/Ichordsound.Themelodiccontentsupportsmyhypothesis:

MelodyA1,Bars912,Excerpt~057104

III/IVII/IIII/I

Btriad
Ctriad
Lydian(#9)LydianAugmented

MelodyA1,Bars1720,Excerpt~110117

III/IVII/IIII/I

AtriadLydian(#9)Ctriad

SolobyKurtRosenwinkel,Bars14,Excerpt~216223

KurtRosenwinkelimprovisedsoloreinforcesthesuggestedsounds:

III/IVII/IIII/I

Btriad

CBebopMajorCLydian(#9)Fm7C7

=Vm7/I

=III7/I
24

Hethenaddschromaticisms:

SolobyKurtRosenwinkel,Bars912,Excerpt~229235

III/IVII/IIII/I

SolobyKurtRosenwinkel,Bars1720,Excerpt~241247

III/IVII/IIII/I

Btriad

Generally it is noticeable that Rosenwinkel superimposes a lot of chordal structures in his

SolobyKurtRosenwinkel,Bars2124,Excerpt~038046

Amaj9

=bIII

maj9

/I

Cm7

=VIIm /I

25

Example5:Zhivago(KurtRosenwinkelOurSecretWorld)
CDTrack06

In his composition Zhivago Rosenwinkel uses a VII/I chord which clearly functions as a
passingdiminishedchordbetweentwoadjacentminorseventhscalechords.Inbar6ofhis
solohesupportsthediminishedsoundbyplayingnotesoftheEAuxiliaryDiminishedscale:

Solo,Bars58,Excerpt~310313

VII/I

EAuxiliaryDiminished

ThethirdtimearoundheplaysadescendingEbmPentatonicpatternputtingitinthecontext
ofthepreviousandsubsequentchord:

Solo,Bars1316,Excerpt~316319

VII/I

EbmPentatonic

Laterinthesoloheappliesthepentatonicideaagaininadifferent,moreextendedway:

Solo,Bars8996,Excerpt~416423

VII/I
EbmPentatonic

EbmPentatonic

26

Example6:Aspire(KennyWheelerTheWidowInTheWindow)
CDTrack07

Aspireisareallygoodexampleforusingtensionsinslashchordsasitpreciselyindicatesthe
soundsthecomposerhasinmind.
Howevertheveryfirstslashchord,VII/Iiswithouttensions.

Melody,Bars13,Excerpt~234243

VII/I

BbMelodicMinor(#11)

ThemelodysuggestsaBbMelodicMinor(#11)soundovertheA/Bbchord.ThenaturalDin
the first bar can be seen as a passing note. This assumption can be proven by the
composersimprovisationoverthefirsttwobarsoftheform:

1stchorusofsolobyKennyWheeler,Bars13,Excerpt~234243

VII/I

BbMelodicMinor(#11)

2ndchorusofsolobyKennyWheeler,Bar1,Excerpt~415419

VII/I

BbMelodicMinor(#11)

27

JohnAbercrombiessolorevealsthesameresult:

2ndchorusofsolobyJohnAbercrombie,Bars13,Excerpt~904910

VII/I

BbMelodicMinor(#11)

Example7:TheSixteenMenOfTain(AlanHoldsworthThe
SixteenMenOfTain)
CDTrack08

ThesolosectionofAlanHoldsworthscompositioncontainssubsequentII/IandIII/Ichords
in different tonalities. Mostly he uses the obvious choices which are Lydian for II/I and
LydianAugmentedforIII/I.

Solo,Bars6168,Excerpt~154203

II/IIII/I

BLydian

CLydianAugmented

II/IIII/I

ELydian

FMessiaenMode3

Inbars67and68heemphasisestheperfectfifthCinhissoloagainsttheaugmentedfifth
C#inthechordA/F.SinceheisalsoplayingtheaugmentedfourthheisprobablyimplyingF
MessiaenMode3.Inbars107and108thisassumptionissubstantiated.

28

Solo,Bars101116,Excerpt~237254

II/IIII/I

GLydian

AbLydianAugmented
II/IIII/I

CLydian

DbMessiaenMode3

II/IIII/I

FLydian

GbLydianAugmented

II/IIII/I

CLydian

CBebopMajor

It becomesvery evident how he structures the solo in terms of harmonic tension in eight
barphraseswitharisingintensitylevelinthelasttwobarsofeachphrase.Heusesprimary
scalesforthefirstsixbarsandthenchangestoamoreunconventionalsound.

Solo,Bars157159,Excerpt~338341

II/IIII/I

CLydian(b9)

Anotherunconventionalsoundisusedintheexampleabove:Lydian(b9)overaII/Ichord.

29

GeneralObservations

ByanalysingtheexcerptsinthischapterInoticedthatthereareuniversalsignificantaspects
tobeconsideredwhenimprovisingoverslashchords:

1) Melodic material comes from various modes of many different parent scales
including Major, Melodic Minor, Harmonic Minor, Harmonic Major, Messiaen
modes, Hungarian Major and Hungarian Minor amongst some synthetic and
symmetricalscales.

2) Superimposition of triadic and chordal structures in form of arpeggios is another

3) Rhythmic variety and coherent melodic lines conclude with strong resolutions and
consequentlyconstructmusicalideas.

4) Written melodies and sonorities of compositions usually indicate the composers

5) Especiallychordtonesoftheupperstructuretriadsareemphasisedinthelinesand
aremostlyutilisedasresolutionpoints.

6) Intheselectedexamplesonecanonlyfindlittleuseofchromaticisms.

7) Someslashchordsareusedmorethanothers.Reasonsaremostlikelyatendencyto
experiment with trendy sounds but also desired levels of ambiguity or intentional
explicitness.

8) Thestructureandcontouroflinesincludestheapplicationofprimaryandexpected
soundsinalterationwithunconventionalandcreativesonorities.

9) Although many different types of slash chords are used in composition,

30

FurtherSonorities

With reference to the analysed solos I have constructed some phrases with alternative
interpretations of chord sounds. To depict examples for every single sound would go
beyondthescopeofthisessay.ForthisreasonIhaveselectedsomeinterestingsonorities.

ThelackofathirdinaII/Ichordresultsinanopennesswhichcanbeusedtocreateeither
major or minor sounds. Since II/I is usually connected with the Lydian scale, I have used
minorscalesforthefirsttwoexamplestoshowthischordtypesversatilenature.

Example1:II/IDorian(#11)
CDTrack08

Example2:II/IMelodicMinor(#11)
CDTrack09

Thesamelineasinexample1withtheminorseventh(Db)changedtoamajorseventh(D)
resultinginanEbMelodicMinor(#11)sound.

31

Examples3and4revealfurtherpossibilitiesforIII/Ichordsounds.

Example3:III/ISymmetricAugmented
CDTrack10

The following example uses the Symmetric Augmented scale and resolves to a VII/I chord
showingitstoniccharacter.

Example4:III/IHarmonicMajor
CDTrack11

HereisaphraseexemplifyingaHarmonicMajorsoundforIII/I.

V/I is also a very open sounding chord with many different sonorities. Examples 5 and 6
illustratehowV/Icanbeinterpretedwithambiguousmajorandminorsoundingscales.

Example5:V/IHarmonicMajor
CDTrack12

32

Example6:V/IMelodicMinor(#11)
CDTrack13

Example6exposesV/IinaLydianMinorsonority.

Example7:bVI/IHarmonicMinor(#11)
CDTrack14

bVI/Iisoftenseenasaninvertedmajorchord.Thefollowingexampleshowsthatitalsohasa
uniquesoundinaHarmonicMinor(#11)setting.

Example8:bVII/IMixolydian(b13)
CDTrack15

Mixolydian(b13)isagoodalternativeforthemoreconventionalMixolydianscale.

33

Example9:VII/IHarmonicMinor(#11)
CDTrack16

We have already seen many different possibilities to play over VII/I chords. Here is an
examplewiththeapplicationofHarmonicMinor(#11).

Minor,augmented,diminishedandsuspendedslashchordsarerarelyseeninsolosections.
Howevertheyprovideinterestingsoundswhichareusedalotincompositionstoharmonise
melodies.Herearesomeexamplesfortheabovementionedslashchordtypes.

Example10:IVm/ILocrian(n2)
CDTrack17

Since the expected sound for a minor chord is in most cases Dorian, Aeolian or Melodic
MinorIhavechosentousetheIVm/IchordinaLocrian(n2)environment.

Example11:bVIm/IHarmonicMinor
CDTrack18

bVIm/Iisaverytensesound.Thebestwaytouseitistoresolvetoaverystablesound,in
thiscaseLydian.

34

Example12:bVIIm/IPhrygian(n6)
CDTrack19

The default scale choice for bVIIm/I is Phrygian. Phrygian (n6) gives the chord a brighter
sound.

Example13:IIaug/ILocrian(n2)
CDTrack20

WithLocrian(n2)overIIaug/Iitisimportanttobecarefulwiththeplacementoftheperfect
fourthofthescale.Itisprobablymosteffectivetouseitasapassingtone.

Example14:IIdim/IHarmonicMajor
CDTrack21

IIdim/IisanexcellentchordtorepresenttheHarmonicMajorscale.

35

Example15:Vdim/IPhrygian(n6)
CDTrack22

ThePhrygian(n6)scaleisanidealchoiceforthisdarksoundingchord.

Example16:IIsus4/IDorian(#11)
CDTrack23

Like all II/I slash chords, IIsus4/I is also very versatile. Again, I have selected a Dorian (#11)
scale.

Example17:IVsus4/IDorian(b5)
CDTrack24

The last example features Dorian (b5), a mode from the Harmonic Major scale, which
emphasisestheadaptabilityoftheIVsus4/Ichord.

36

SupplementaryCreativeConcepts

There are numerous possibilities to be creative with slash chords. Here are some creative
ideastoexploreharmonywithslashchordsindifferentways:

1) Generallyeverychordtonecouldbeascaletoneandthereforeallslashchordsneed
to be taken into the context of different tonic centres which will give you a large
amountofchoices.
Example:

Chord

InterpretationInMiscellaneousTonicCentres

D/C

Cdim7(add9),Cmaj7(11/13),C7(11/13),D7,Edim7(addmaj7),Em11(13),E9sus4(13),
F7(9/13),F7(5/9/13),Fdim7(add13),A7(9/5),Am6(11),Bmaj9(5),B7(9/9)

2) Anyslashchordcanbeperceivedinthewaythattheupperstructurechordprovides
thebasicscaleandthebassnoteisaddedtothatscale.
Examples:

Chord

ScaleOfUpperStructure

ResultingScale

F/G

FMajor

FGGABCDEF

F/G

FLydian

FGGABCDEF

3) Insteadofaddingthebassnotetothescaleoftheupperstructurechord,thebass
notecanalsoreplaceanote.
Examples:

Chord

ScaleOfUpperStructure

ResultingScale

F/G

FMajor

FGABCDEF

B/D

BMajor

BCDDFGAB

37

4) The bass note could provide three chord tones which interweave with the upper
structure chord. You are basically creating a polychordal sound out of a simple
hybridchord.
Examples:

Chord

TriadBasedOnTheBassNote

ResultingScale

F/G

GBD

FGABCDF

B7/D

DFA

BDDFFAAB

5) Addingonenotetoatriadichybridchordresultsinapentatonicscale.Ifthehybrid
chordincludesatensiontheresultingscalebecomeshexatonic.
Examples:

Chord

AddedNote

ResultingScale

F/G

FGACDF

B7/D

BCDDFAB

Thenewgeneratedscalescouldthenserveasaharmonicuniversetocomposewithorto
useforimprovisation.

38

Conclusion

Comingbacktothemaintwoquestionsfromthestartofthisessayitbecomesevidentthat
not all slash chords have specific sounds. Some chords sound very open and ambiguous.
Especiallyinamodalsettingtheimproviserhasmanyoptionstoresortto.

ConsequentlyIhaveillustratedvarioussoundpossibilitiesforalltriadicslashchordsinform
ofacondensedtablewhichcanbefoundinappendix1ontheDataCD.

Althoughthisessayfocusesontheanalysisofharmonicaspects,oneshouldnotforgetthat
harmonyalonedoesnotdefinemusic.16

FurtherReadingAndBibliography

PatternsForJazzbyJerryCoker
AChromaticApproachToJazzHarmonyAndMelodybyDavidLiebman
TheChordScaleTheory&JazzHarmonybyBarryNettlesAndRichardGraf
ModalComposition&HarmonyVolume1byRonMiller
LydianChromaticConceptOfTonalOrganisationVolume1byGeorgeRussell
JazzCompositionTheoryAndPracticebyTedPease
Harmony4bySteveRochinski,Berklee
Harmony4byAlexUlanowski,Berklee
NeueJazzHarmonielehrebyFrankSikora
TheJazzTheoryBookbyMarkLevine
JazzologyTheEncyclopediaOfJazzTheoryForAllMusiciansbyRobertRawlins&
NorEddineBahha
TheJazzLanguageATheoryTextForCompositionAndImprovisationbyDanHaerle
TheAdvancingGuitaristbyMickGoodrick
SurvivalGuitarbyPeterFishers
JazzGuitarStructuresBoostingYourSoloPowerbyAndrewGreen
ThisIsYourBrainOnMusicbyDanielLevitin
NeueAllgemeineMusiklehrebyChristophHempel
www.musicteachers.co.uk
www.music.sc.edu/ea/jazz/theroy/scalecat.pdf
www.nestorcrespo.com.ar
www.scaleschords.com
www.poparad.com
www.opus28.co.uk/jazzarticles.htmlbyJasonLyon
MasterClasswithBenMonder(20/12/2012)
MasterClasswithJimMullen(24/01/2013)

16

ModalComposition&HarmonyVolume1byRonMiller

39