swingbabymix,

Here is a song I wrote a few years ago. The link will take you to a video of BIAB playing its chordsheet. You'll be able to see some slash chords in action. After listening to it tonight, I can here that I need to revisit the production in the near future. Hopefully, though, it's good enough at present to give you some idea of how I use slash chords.

https://vimeo.com/manage/videos/143978481


Explaining what I've done...

As mentioned, I approach using slash chords from a 4-part classical harmony perspective.

The song is written in the key of G major. This means my chords are...

I = G, ii = Am, iii = Bm, IV = C, V = D7, vi = Em

From classical harmony, a substitute for Chord IV is Chord ii in first inversion. In the key of G, this is Am/C. The first instance of this chord appears in bar 3.

To get to Am/C in bar 3, I've used a first inversion G (namely, G/B).

Bars 12, 13 and 14 keep the bass the same while the chord changes above it. This is called pedal point and it's a nice way to create some tension to add musical interest.

In bar 21, 22, 23 the chord progression changes from G to Em. Using G/F# means that I can step my bass down the G major scale an go from G to E... that is, G F# E in the bass.

In bar 20 there is a chord progression that goes G D7 G and it finishes a section. This is a I V7 I progression and is called a perfect cadence. In classical harmony, the first I chord is nearly always played in second inversion because it adds tension that ultimately helps create a satisfying feeling of completion.

In the key of G major, second inversion of chord I is G/D. This is why the chord progression is G/D D7 G.

Bar 69 is Chord IV in second inversion. By using this chord on a G bass, it means that bars 68, 69, 70 use pedal point again to help finalise the feeling of ending the song.

I hope this helps offer a little bit of insight.

All the best with your journey!
Noel

MY SONGS...
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