focus session SLASH CHORDS

Slash Chords – Part II

Beyond Western Harmony
BY CHAIM BURSTEIN

L
ast time we covered how to substitute slash chords to simplify complex har-
monic situations. Now we’ll look at how to use slash chords to create modal
chord structures and interesting re-harmonizations. These techniques can
be useful in creating a more modern sound in your writing and arranging.

What Mood Is Your Mode?

Modal music has intrigued jazz listeners since Miles Davis first released Kind Of Blue. Modal jazz has even
influenced hip-hop artists such as Erica Badu and Outkast. Often the simplicity of modal music makes for
some lazy writing, however. Rather than finding new ways to evoke a certain feeling, writers will just stack
up 3rds or 4ths from the chosen mode. While this can be very effective, there are other ways of finding
innovative and unique chord voicings. Slash chords can effectively create new tonalities within a mode. In
Example 1 I’ve written a modal melody based off of the raised 5th from the E♭ Lydian Augmented scale.
This scale is the third mode of C melodic minor and has an eerie feeling to it.

Example 1

Eb♭ Lydian #5 Example

                
Melody  

 3

 

   
Harmony

                 


       

         


  





Harmony 


     


   






Harmony
  
           

    


Rather than harmonizing this example with tertian or quartal harmonies, I chose to use slash chords
to generate my harmonic material. I did so by creating a worksheet with just the simple triads from the
mode. Armed with my simple triads, I sat down at the piano and experimented with different triad/bass
note combinations. After getting used to the sounds I was creating, I harmonized the melody with simple

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 focus session

triads. The next step was to find the appropriate bass note for each triad. After some tinkering, I came up with the
harmonization that you see above, which complements the melody accordingly. Next time you’re writing modal
music, try experimenting with slash chords to evoke new modal moods.

20th Century and the Avant-Garde

Slash chords can be a great way to get away from your typical diatonic chord progressions. One of my favorite ways
to use slash chords almost completely disregards Western harmonic concepts. In the prior article on slash chords,
we were only concerned with slash chords that do not appear as some form of a chord inversion. Today we are going
to discuss every possible combination of triads over bass notes. But beware, for these chords are not for the faint of
heart. They will definitely result in some sounds that your mother wouldn’t approve of.
Below you’ll find a chart that contains every possible major triad and bass note combination (Example 2). I’ve
organized it from what I find to be the most consonant to the most dissonant. Each new chord is labeled in levels of
dissonance, with Level 1 being the least dissonant and Level 12 containing the most dissonant harmonies. You might
want to experiment on your own to create a similar chart for yourself. This chart was created using only a piano and
my ears. You may find that you would like to re-order the levels of consonance/dissonance. In addition, you may want
to try to generate a similar chart using only minor triads rather than major triads.

Example 2

Slash Chords
Levels: Consonant (1) to Dissonant (12)
            
1 2 3 4 5 6 7 8 9 10 11 12

B/C Db/C F#/C

Piano
 C/C F/C
 
Ab/C G/C

Eb/C

Bb/C A/C
   
D/C E/C
  
Once you’ve decided what order to put the chords in, there are two different ways to apply these chords to your
writing. The first way I use this chart is to create the feeling of constant structures or stagnant harmony. This can be
quite effective when scoring for horns or improvising solos at the piano or on guitar. To do this, simply pick a level
that gives you the sound you’re searching for. I happen to like Level 4 and use it quite frequently when stuck in a
harmonic rut. Now that you’ve picked a level, you may harmonize each melody note three different ways. Using
Level 4 on my chart as an example, I’ve harmonized the note E natural three different ways (Example 3). Try playing
these on the piano and notice that although the chord changes, the level of dissonance stays the same. Experiment
on your own by harmonizing your favorite melody with a level of dissonance that tickles your ear.

Example 3

Melody: E
Level:4
   
Piano
  

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 focus session
Another way to use this chart is to increase or decrease the level of dissonance perceived by the listener.
This can be very effective at high points in an arrangement. Take a look at Example 4, where I’ve harmo-
nized part of the melody to the tune “My Favorite Things.” The first time through, you’ll see the traditional
harmonization of this melody. The second time, I started on Level 3 and moved up to level 12, increasing
the level of dissonance with each new melody note. Try playing these on a piano and notice how the level
of dissonance increases each time a new chord voicing is played. The top voice can act as the root, third,
or fifth of a chord. This gives you three different ways to harmonize any melody note at any given level of
dissonance.

Example 4

Slash Chords
Levels: Consonant (1) to Dissonant (12)
            
1 2 3 4 5 6 7 8 9 10 11 12

B/C Db/C F#/C

Piano
 C/C F/C
 
Ab/C G/C

Eb/C

Bb/C A/C
 
D/C

E/C
   

Try This at Home!

Armed with these techniques, you can start to form
new sounds and harmonic movement with some of
your favorite tunes. Remember to experiment with
the tools and use the techniques as guidelines, not
Open House on October 6, 2007 at 1PM as strict rules. The sonorities produced by many of
these chords are about breaking the rules. Stravin-
Undergraduate Programs sky didn’t become famous for his easy listening; he
• Jazz/Commercial Music Mus.B.
Concentrations in: broke rules and as a result he revolutionized western
•Audio Recording Technology harmonic concepts. Be a rebel; write like you don’t
•Composition/Songwriting
•Music Teacher Education know what a major scale is and perhaps you’ll find
•Music Business new harmonic backgrounds to incorporate into your
•Musical Theatre
•Music Performance next masterpiece.

Graduate Programs A graduate of Berklee College of Music, Chaim Burstein

¡
• Master of Music M.M. is an active jazz musician and educator working in the
• Jazz/Commercial Music M.M.
Concentrations in: greater Philadelphia area. He is currently working towards
•Composition/Arranging
•Music Teacher Education obtaining his Master of Music in Jazz Studies from the Uni-
•Music Technology versity of the Arts. www.myspace.com/chaimburstein
•Music Performance
•Music History

. If you'd be interested
• Doctor of Musical Arts D.M.A
Concentrations in: in submitting an
•Composition/Arranging instructional article
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sion
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