[Dixielandjazz] Slash chords

[d.sleeman]

Ken G wrote:

> Attn--Rhythm section players.
> 
> To the extent that you may look occasionally at a chord chart,  does anyone
> beside the bass player have reason to pay attention to the bass note part of
> the slash chord?  Piano maybe?
> 
> Ken Gates

I think the note indicated after the slash is very important - not only for the bass player, although he/she is the one who should play it - because it alters the function of the chord. 
Also it is used to show a certain preference in voicing. Normally the root of the chord is a capital letter and the additions are placed after and on top of the root letter. Those additions denote (!) which notes to add on top of the root triad as in:

Ami - Ami(maj7) | Am7 - Ami6 |  (first two bars of "What are you doing the rest of your life")

The bass player is expected to play a so called pedal on A. When the arranger wants the bass player to play these additions instead, he uses slashes, as in:

Ami - Ami/G# | Ami/G - Ami/F# | (same two bars as before). The other chord players are then expected just to play the A minor triad.

Instead of Ami/F# is sometimes used F#m7(b5) which is considered to be the same. Well, the notes are, but the function is not. The Ami/F# namely is followed by a F9 chord; a 
F#m7(b5) is a substitute dominant seven chord and should be followed by B (of course this is splitting hairs, but theoretically correct).

The F9 brings me to  Bill A's answer:

>     Sometimes the slashes can indicate or suggest a different voicing or harmony. For example, if the chord reads F/G, what you're really dealing with is a G11. Or vice versa; if given G11, try different voicings of a plain ol' F chord, knowing (or hoping) that the bass player is nailing the G tonality.

I agree with Bill's vision, but respectfully point out that ".. if the chord reads F/G, what you're really dealing with is a G11.. " should read: F9 (or am I splitting hairs again :-))

I can imagine this chord in a sequence as follows: G - F/G - Emi/G - Dmi/G and back, also a pedal G with differend triads, like in a intro and eventually ending up in C.
 
> Part of deciding what to play depends on how isolated you are - if you are the only rhythym player (beside the bass), you may want to include the bass tonality. If you have other rhythym section players, or a large band playing more of the harmony, you may wish to play a sparser part including only the higher harmonies.

Agree!

My two Eurocents,

Dick Sleeman