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Here are 3 incredibly beneficial slash chords which you can sub into your own chord developments to add additional depth and detail!
For more information on Slash chords, have a look at this video:.
The outro music to this video is my track "Mothers Day" which you can hear completely on Spotify:.
And, an extra special thanks goes to Douglas Lind, Vidad Flowers, Ivan Pang, Waylon Fairbanks, Jon Dye, Austin Russell, Christopher Ryan, Toot & Paul Peijzel, the channel's Patreon saints!.
0:00 fourth chord over fifth degree.
2:37 fifth chord over 4th degree.
4:25 fifth chord over 6th degree.
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3 Special Slash Chords That You Can Use Too
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I thought “Peaches” was in F Sharp Major…
Thanks for another awesome video!
Would love to see you do one on songs that use genuinely “incorrect” chords to good effect!
The V11 is also used in Isnāt She Lovely, to great effect.
The V11 is probably in every single Stevie song, and in the whole R&B genre in general lol
@@triad5766 true! very jazzy
ANYTHING with a 2/1 ..SO dramatic..So poignant..It’s SUCH a sound, that it deserves its own video..
It gave me several ideas personally, e.g. IVsus2 | V7ā¶ā“Ā², the first chord can act as V9sus4 which steps down beautifully to V7b9 before resolving
The Space Between (Dave Matthews), Crazy (Ice House), Same Asylum (Steven Wilson), etc..
I wanna say Silent Running (M&tM) has this too, but I’m not quite sure
Like a iim/I chord?
ā@@omniscientomnipresent5500more like II major/I like D/C it gives you this lydian sound (#4 interval), in this example between C and F#
6:42 The first slash chords that come to mind are:
– I/5 or vi/3 (the cadential 6 4)
– V/1 or V7/1 in major (Under Pressure and Maybe I’m Amazed) or III/6 or III7/6 in minor (my favourite example is that one scene where he’s sad on the roof of that church in Spider-Man 3)
– VII/1 which can also be viewed as a iĀ°maj7 chord (the Misty chord)
That last chord is also the second one (at least as I hear it) for In The Air Tonight. It can be used as a remanence of the tonic minor when we moved to the fifth degree. A cool and mysterious sound. So in my mind it’s more equivalent to Em/A than G/A š
For each type:
1) I think a cool variant of the ā4th chord over 5th degreeā slash chord is if you make the 4th chord a minor 4 chord. You get this odd combo of a V – I resolution and a iv- I resolution that works really well, and if you were to think about it as one big chord, it would be a Dominant 11 flat 9 chord, which Iāve mentioned before that Dominant flat 9 chords are a favorite of mine
2) Oddly enough, I prefer to use a different type of slash chord for the Royal Road chord progression. I typically write tunes in minor keys, and the Royal Road progression in a minor key is:
āVI – āVII – v – i
I usually like to make that v a V7 to strengthen the cadence, and the the slash chord I put in is a V7 over the Natural 7th degree, which is itās 3rd. The reason I do so is because it creates some nice chromatic motion with the bass note of the latter 3 chords; ā7 of the āVII, to ā®7 of the the V7, to 1 of the i chord.
3) I remember watching a Charles Cornell video about the One Piece opening that utilizes a slash chord in a similar way: in the video, he mentioned how you can really easily create a sus chord by playing the chord thatās a whole step below the note of your choice. Itās a technique I want to try more in future tunes.
Carole King has these particular substitutions in almost all of her iconic early 1970s hits.
Yes!! Jazzman was the first song I thought of that uses the G/A substitution.
@@Jtmcad14 Good example. “Where You Lead” is another.
Thanks for this video. I have always wanted to know how to better use slash chords. I heard slash chords in music school, but I never learned how use them well. I also love a lot of Japanese chord progressions I have heard so far and it seems like many Japanese musicians like to spice up chord progressions more than most North American musicians.
This kind of chords is also found in “isn’t she lovely” and “leave the door open”. You should consider more videos š
Thanks for your work btw š
The Smiths’ There is a Light That Never Goes Out uses the exact same chord progression you used as example on 0:12.
In the chorus the song goes to G major and we have the chord progression I – vi – IV – V, but instead of using C major as the IV they use C/G that is the 4th chord over the 5th degree
loving the piano visualization, super helpful in conceptualizing the chords
Alright one of my absolute favorites is the mu chord. For example a Gsus2/ B. Hauntingly beautiful sound!
Great work!
The first one (IV/V or IV over 5Ģ) is what John Covach calls āsoul dominantā because of its regular use in that genre.
‘Lady Stardust’ by David Bowie is a great example of the 4th chord over the 5th degree (D/E).
And in ‘Every Breath You Take’ by The Police, the 4th chord is in 3rd inversion (C/Bb) [although it’s not the 5th chord in 3rd inversion like in the video] in the beginning of the bridge
I just simply love these videos of Yours, so thank You very much for all of them and luckily there have so many of them latelyš
“The Long and Winding Road” is a good example, but McCartney’s solo “With a Little Luck” hammers this resolution in much more prominently.
The progression in “Peaches” can also be heard in one of George Martin’s themes for Yellow Submarine.
– I like 5/1. I know a couple of Norwegian songs that use this. It’s basically just used as a major 9 chord (Can also be a dominant or minor 9 with no third if the 5 is minor).
– Another one is the “cheat half-diminished” chord. In Am, it’s Dm over B. It can be used like the 2 in a minor 2-5-1.
– Not sure if it counts, but I like the sound of the Dominant 7 flat 9. It’s a blend of a diminished 7 chord or as a standard dominant chord. I like using it as a secondary dominant to the 2 chord, so VI7b9. In C major it’s Bdim7 (or any of its inversions) over A.
– I also like using iv/V, It functions like the 5 chord, just like the IV/V, but more spicy.
– Flat 3 over 1 is a minor 7, and 3 minor over 1 is a major 7.
McCartney used a “slash” chord in his opening of “With a Little Luck!” Thanks for the videoā¤
Siempre me ha gustado el efecto de la tercera menor. Por ejemplo, C, pasar a Eb/C y luego pasar a F/C y volver a C. Como en “I can see for miles” de The Who.