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Jazz Bass Lessons: Sus and Slash Chords

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[MUSIC]
Now, I'd like
to cover slash chords.
Slash chords are when you have
one triad over another bass note.
Let's start with one of
the most simple ones.
Let's say B flat over C.
And sometimes,
it's really a simple thing you just
take the B flat triad and put it over C.
It kinda gives us a voicing too.
Sometimes, I use B flat major
7 over C in some of my music.
[MUSIC]
Which is looked at as a sus sound.
Sus because that comes from
the traditional theory of anytime you have
a 4th and you hold onto it,
it's a suspended 4th.
And a lot of times in classical music,
these suspended notes always resolve but
in jazz sometimes we just,
we hang onto them and it's a sus chord.
It has to do with the 4th degree or
the 11th, I think it was the 11th too.
Gives us that suspended sound, okay?
So that's a sus chord.
And you can play a dominant scale over
there a C dominant sounds really good.
[MUSIC]
C dominant, okay?
That's a B flat over C.
Now, here's one that's a little more
dissonant and this is a B over C.
[MUSIC]
That sounds very,
kind of ominous sometimes as bass players,
I remember the first time I saw
this chord I thought my gosh,
what I'm gonna play over that, so
now see it's just a B triad over C.
I'll give you a wonderful hint that
it took me a bunch of time to find,
but now you can have it right away.
It's E harmonic minor kinda
opens up this sound great.
So you play
[MUSIC]
see?
[MUSIC]
So that's B over C,
with E harmonic minor.
Now, there's E over C which gives us that
sound we heard before
[MUSIC]
that's the same as E major 7 sharp 5,
E over C.
And it's really the same,
you can use the same things over it.
You can use A melodic minor.
[MUSIC]
Right?
Or, you can use the augmented
scale that we talked about before.
[MUSIC]
The one with this, and C it's C,
the flat 3rd, the major 3rd, the 5th,
the sharp 5, and the major 7.
[MUSIC]
That one, I call it the augmented scale,
some people call it the hexatonic scale,
there's all kinds of names.
It's easy just to think
of it as augmented scale.
[MUSIC]
So that works over the E over C.
Then you have an F sharp over C.
[MUSIC]
Now that gives you, sometimes if you
make a domino chord if you
just add a few notes and
make a domino chord which is usually what
that is spelling that F sharp over C.
It's like
[MUSIC]
then basically, you are spelling that F
sharp over C [SOUND] gives you
a C7 with a flat 9 and a sharp 11.
[MUSIC]
Which is a great sound.
And there you can use what we spoke
about before D flat melodic minor.
[MUSIC]
So that gives
you some ammunition
over that F sharp over C.
[MUSIC]
Okay?
Now we're going to go up to A flat over C.
[MUSIC]
Now, here's the thing where
it just depends on whether
you have the 7th in there.
If you have this sound then it's
a different thing, if it's A flat over C.
You can think of it as an A flat
chord with a 3rd in the bass,
just a major sound.
Okay, but sometimes in Jazz music,
what you're gonna have is
that B flat's in there.
And then sometimes people call that,
a minor 7, sharp 5.
Or, they call it,
some people call it C minor 7,
with a flat 13.
I've even heard it called,
when I did a lot of studio work,
somebody would call that an A flat 2.
[MUSIC]
See that's showing you the voicing.
You put the A flat and
you put a 2nd, the B flat next to it
[MUSIC]
so they call it A flat 2.
That's one way to look at it.
[MUSIC]
It's a nice sound.
So,
[MUSIC]
sometimes people think of that
as an A flat major scale sound.
[MUSIC]
Okay?
So, or like a B flat sus over C.
[MUSIC]
See, that's kind of a sus sound.
Like, B flat sus would be here.
That's a sus sound when you have the 4th.
[MUSIC]
You've probably heard that sound too.
If you put the B flat sus over the C.
[MUSIC]
That's looking at it more like a sus and
then it changes, kinda color.
[MUSIC]
You can think of it more like an F minor.
[MUSIC]
It's the B flat sus in your mind.
So you can approach that same
sound several different ways.
Now, if you drop the 3rd under it,
check this out.
[MUSIC]
And turn it into a dominant chord,
now you have a C7 with a sharp 9 and
a sharp 5.
[MUSIC]
Now,
you can play your D flat
melodic minor again.
[MUSIC]
Okay, so
that's the big
world of A flat over C.
[MUSIC]
[MUSIC]
Okay,
now, A over C.
[MUSIC]
We were just dealing with it before when
we did our C 13 flat 9.
Here's the half step,
whole step, diminish scale.
That's what you would play A over C.
[MUSIC]
Remember how we also played C minor,
C major, E flat major, E flat minor,
F sharp major,
F sharp minor scales over it?
That's what we do over there.
[SOUND] Okay.
Now, D flat over C.
[MUSIC]
Okay,
that sound
[MUSIC].
So that's kind of a,
[SOUND] the sound of a,
some people call that sus flat two.
The D flat over C.
The slash chords, they wind up having
several names is what happens.
And so some people write them that way
to just get us into a certain voicing.
[MUSIC]
They want that sound.
But what we're getting
with D flat over C is
[MUSIC]
it's like a C phrygian.
[MUSIC]
Or what you would call an A flat
major scale, starting on C.
[MUSIC]
That's D
flat over C.
How about when we put the
[MUSIC]
that's the best use of it.
I'm not gonna go further
with the D flat C.
That's perfect.
Now D over C.
[MUSIC]
This is a
[MUSIC].
Is a popular sound.
You've heard this many times.
D over C.
Very strong major sound.
It also changes color is you
put the flat seven in and
make it a dominant chord.
And this shows you a voicing for
the C 13 plus 11
[MUSIC]
you can use this for that also, but
say there was no 7th in there and
this was just a straight major sound.
This gives you the major
sound with a plus 11 so
[MUSIC]
the Lydian scale,
that's a major scale with a sharp 4.
[MUSIC]
You've heard that
sound I'm sure many times.
[SOUND] So that's D over C.
Basically, its a C.
Same as like a C Lydian or
sometimes a C major seven with a plus 11.
If you have the B in there with the major
seven, then you'll hear that sound.
[SOUND] So even if the B is not in there,
you can still play C Lydian, which
[MUSIC]
has the major seven in the scale [SOUND]
but it works.
Okay?
So now those are the main
slash chords that
I wanted to go over with you because
they're dealing with the alteration.
So that gives you a nice insight into
the slash chords and some of the suss
chords that happen when you start
putting this triad over this bass note.
[MUSIC]