Topic: Question about using slash chords in a style

[jugge]

Hi,

I am working on a blues song that are using some chords like Dm7/G (slash chords)
Any ideas on which chords I can use as an alternative for those in a style? Just a normal Major chord or something else?

Thanks
/Jugge

[DerekA]

Have you tried using the fingered on bass mode, which lets you play slashed chords?

[DrakeM]

In the example you gave Dm7/G, play the Dm or DM7 chord. Use your own ears, you can best tell that way which is better.

[jugge]

Have you tried using the fingered on bass mode, which lets you play slashed chords?

Thanks for the suggestion. However, I want to use the chord steprecorder and couldn't find the option for the slashed chord there.

Cheers
/Jugge

[Gunnar Jonny]

Maybe this is for some help?
https://www.pianochord.org/dm7-alternative-bass.html

[panos]

Hi Jugge,it is called Dm7(11) on the keyboard.
Just press the keys Gunnar Jonny indicated
(G A C D F)
Which means Dm7(acdf) chord and an "extra" G note.

[Bruce Breen]

For many of the "slash chords" I actually play both chords (if the tempo and length of note allows).
Then you would get the best of both worlds...

Or as Drake mentions, use your ears - what sounds best?
Then highlight the best chord for the next time you play it (I've even stroked out the chord name that does not work for me).

[RONBO]

hello

I think Dm7/G means that you play the chord as you know it and adding the G as the lowest bass note

This makes more sense if you are playing a piano, however if you use the fingered on bass option you could use it on a Yamaha keyboard

Sometimes playing the chord is not very handy as written, so just overlook it

That's my opinion

regards.
Ron

[jugge]

Thank you all for the help and suggestions 

Best regards
/Jugge

[EileenL]

AI fingering is great for playing slashed chords and in most cases only two fingers needed to produce them.

[DerekA]

Thanks for the suggestion. However, I want to use the chord steprecorder and couldn't find the option for the slashed chord there.

After you've expanded the chord data, you could go into the MIDI step editor for the bass channel (defaults to 11) and manually alter the bass note(s). Might be a little time-consuming but will work.

[Bob88]

  A great resource for  finding chord fingering   GJ.    Thank you.  Bob

[mikf]

Depends on the circumstances, but the bass note in a slab chord might actually be more important to the sound than rest of the chord. Dmin7 and G7 are very closely related chords so if you must simplify,  a G7 chord may sound slightly better. Playing just the Dmin chord will not produce a discord but is not likely to satisfy the discerning ear. It’s three subtleties that separate good playing from ok playing.
It can be difficult to finger these chords in the lh and piano players often cover the chord in the rh using the lh for the bass. This sometimes works on the arranger if you are using a suitable rh voice.

[andyg]

First, shift into AI Fingered Mode - if you aren't already there! I always say that anyone needing this type of chord - or anything 'exotic' for that matter - should be using AI!

Dm7/G could no doubt be expressed in other ways, but probably not Dm7(11) because of the G bass. However, the notes G A C D F should do the trick nicely in AI mode, and it's possible that there's a slightly simpler version. No keyboard to hand to check. Assuming that the chord isn't held too long and resolves into something based on a G7, it's close enough to G7sus4 in terms of sound to allow for that chord to be played instead - G C D F - cutting out one key if the five-noter is too uncomfortable.

[Lee Batchelor]

Here's what I think. The D^-7 chord is what's called the "relative minor" to the G chord, so it fits. I sometimes play a D^-7 chord on the right hand, in root position (D, F, A, C) and a single G note in the left. This is a very effective way to resolve back to the root key, which I assume is C in your case.

Using this technique, the accompaniment instruments will also play a single G note all in unison, which may sound wrong but in fact, you often hear this in full orchestras. It gives the listener a break from all the little nuances of the other instruments. Listeners need that break once in a while. Don't underestimate the effect of playing the minor two in the right hand and the fifth in the left. It's very powerful and used by a lot of pro players !

One more tip: For extra effect in resolving to C, instead of playing the D^-7 chord on the right, try either a D diminished (D, F, G#, B) or Fm^{major7,flat 5}, which is F, G#, B, E. At first, it appears to conflict with the rules of theory because you have a G and G# in the same chord, however, in Jazz, you can get away with that when those two conflicting notes are spread far enough apart.

[Bruce Breen]

Here's what I think. The D^-7 chord is what's called the "relative minor" to the G chord, so it fits. I sometimes play a D^-7 chord on the right hand, in root position (D, F, A, C) and a single G note in the left. This is a very effective way to resolve back to the root key, which I assume is C in your case.

Good suggestion Lee - use your right hand to add to the chords.

My left hand is 'weaker' than my right (I grew up on Accordion).
So in some songs I even play a G chord on the left (I'm not using A1 fingering) and a Dm7 on the right at the same time.
Again - I always listen to the result and see if it fits the song.

[mikf]

Yes, what Lee describes is what a piano player would do. It’s also great when comping where you don’t need a lead. Another option is to play the G lh bass against an F chord and resolve to G7. I play full keyboard piano or similar over styles most of the time, so can do all these things easily. But it doesn’t work if your lead (rh) voice is a solo type instrument like say a trumpet. In these cases Andy’s solution might be best.
One thing I don’t agree with is the advice to just ignore the slash chord. That is ok if you are learning and need to simplify your chording to cope, but it’s never going to produce the harmony sound the composer envisaged. Nor would you be educating your ear to hear the difference, so you carry on thinking it sounds ok, when it doesn’t.
Mike

[Lee Batchelor]

Good ideas guys. My left hand is weaker, as well. It makes it very challenging when I need to play left-hand bass and solo piano on the right.

The idea of a G in the bass with an F chord on the right is good too. Thanks for that, mikf.

One more tip: If you resolve to the C major chord on the left and right hands, and you're playing light Jazz, instead of playing a C chord with the right hand, play a D major chord in second inversion (A, D, F#). Try it. You'll sound like a pro !