A transcending Yin and Yang slash chord:

          A transcending Yin and Yang slash chord: 

As you may already know, slash chords are a very important part of music and there are a variety of them. They are a pretty straight forward concept to grasp, you just play a chord in the right hand and then move only the bass while maintaining the right hand chord, for example: C/G or C over G, you would start the chord in C and then move the left hand, meaning the bass/left hand plays G and the right hand plays C. We have been listening to them and been influenced by them since the classical music era, which I like to think of as its true origin. From Mozart to our modern Pop culture, this chord has helped composers to make an easy transition from one chord to the next. I usually see this chord being used to go from the Tonic (I) to the fourth (IV), making a smooth transition. Of course, I like to jazz it up a notch and take this chord to a whole new level in sound and comfort. Let’s see the easiest transition first and then I will show you my way so that you can hear the difference better! We will start in the key of C and we will try to end up in F. The transition goes like this:

1-) Play a C Octave on the left hand, and C major 2^nd inversion on the right hand.(G + C + E)

 

2-) Now move the bass to E and keep the same C Major chord previously used on the right hand. (This is the famous slash chord.) – C (2^nd inversion)/E 

3-) Play an F octave on the left hand and an F Major chord on the right hand.    (F + A + C) 

Pretty easy concept right? Well, now let’s add some magical elements to awaken our inner spirits in a deeper way. We will use the same transition as above, only with added notes on the chords. Trust me, the difference is huge in sound! 

1-) Play a perfect fifth on the left hand starting on C (C+G), and on the right hand let’s play the same C Major chord (2^nd inversion) as seen in example one, only with the added 9^th or D this time.

 

2-) Now move the bass again towards E but add a minor 6^th interval or a C (E+C), on the right hand we will play a G Major chord in second inversion (D+G+B) – G(2^nd inversion)/E(add-6). 

Let’s examine more into detail what is going on harmonically here that is making this chord sound so different and so out of this world from the first simple example.

First of all we are almost playing an E minor 7^th chord on the right hand or a    G Major (2^nd inversion) chord as stated before, did you notice? And the reason why I say almost is because of the C (added minor 6^th) on the bass. This note alone is what is morphing a rather simple chord into a majestic beauty. On the left hand, we are really playing a C Major chord in 2^nd inversion (without the G). If we remove the C from the left hand maintaining the E note, and play the G Major second inversion chord on the right hand, then we have a sad but beautiful sounding E minor 7^th chord. Now add the C back again and the chord is hanging in the air. The combination and mysticism of two very different worlds combined into one, minor and major. This is power my friends, the real Yin and Yang of music unfolding in front of our very own eyes. 

3-) Finally play a minor triad starting on F on the left hand (F + Ab + C) and on the right hand play only two notes (Eb + G) – making this a what? Yes you guessed it, an F minor 9^th chord (MY FAVORITE). 

 

As you can see, harmonizing simple progressions into something a lot more rich and powerful is what music is all about. At the end it all comes down to our personal taste which is what makes us sound apart and original from others. Feel free to experiment some more by adding or subtracting notes from my example. Find your inner voice and let your heart shine through the notes for everyone to see! I hope you found this helpful!

Carlos Camilo 

(Author)(pianist/singer/arranger/producer/composer from Miami,FL).

www.carloscamilo.com