Attention!!

  • Thread starter Thread starter moresound
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SEDstar said:
uh, my understanding "and hobbyist understanding at that" is that "slash chords" as they are popularly known.... (chord inversions, to the sticklers?)
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So, do you have to wear a top-hat when you play them?:confused:
 
SEDstar said:
uh, my understanding "and hobbyist understanding at that" is that "slash chords" as they are popularly known.... (chord inversions, to the sticklers?)

a Dmaj is a Dmaj is a Dmaj... regardless of which of those 3 notes are played in whatever octave...

the root (1st) is STILL the root, and just becuse you "open up" the chord and stick one of the component tones into the bass... the root (1st) has not changed...

on basis of YOUR "handy notation" system you have developed... you are implying that a D and a F# are somehow the same chord, perhaps interchangeable?

heck, following that to some conclusion, if a piece is written in D, I might as well play it (transposed) to F#... after all, its the same thing...

a Dmaj is till a Dmaj... the slash inddicates which tone is in the bass to avoid confusion, not create more. the three discrete tones that make that Dmaj chord make it up, and none other... but particularly on guitar and keyboard, this gives you many options for how you voice that Dmaj chord if you are going to be hitign it a lot, and it might sound repetitive...

allows you to sound to the layman as if you are throwing all manner of chords in, even though all you might really be doing a simple 3-chord layout for the base structure before you dress it up...

I have a sense one could perhaps deliberately slash a chord to a particular inversion, as a pretext to a sudden unexpected series of chord changes, perhaps to set it up better, but, I lack any skill at that, lol... I am completely wthout any skill at making interstng changes. its my price I pay for now by not playign guitar and/or piano... I know good keyboard players (and I must assume guitar players...) can take a standard 3-chord format and "wal mart" relative brideg setup... and play the thing thru always usng chord nversons in a novel fashon to get a more complex sound out of the basic piece they are given...

uh..... huh-huh-huhhhh... er, or, like, SOMEthing like that...

but its all cool.... I only fuss over what litle theory I do know, because I have no talent...
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This is exactly the wanky sort of theory discussion I don't want to get into... but...

All chord inversions sound different, so whilst technically, a Dmaj7 is a Dmaj7 is a Dmaj7, on certain instruments, such as guitar which has multiple strings which can be fretted, using some form of "code" or whatever, such as a slash chord, which makes it crystal clear exactly which inversion is required, advances the cause, and is thus to be encouranged where it makes sense.

Where you're talking solo instruments, particularly the acoustic guitar which is my primary instrument, what note is sounded on the bass often matters quite a lot, particularly as we're talking chord-based music - and so a D in first inversion is a completely different beast to a D/F# by the addition of that F#- and anyone who sees the notation to play a D/F# will pretty quickly work out what's required and play it that way... where as if it's just D, they'll probably play first inversion, but may also play either barre chord inversion or perhaps even a C-shape barre on the 2nd fret if they feel like it. These are all D chords, but are they the correct D chord, according to what the composer intended?

I didn't invent the slash system, it's common knowledge amongst guitarists and I'll continue to do whatever I feel like, notating however I feel like, and not care in the slightest if others don't understand it. My experience, however, is that they do...
 
That's I <3 music theory, more... that's way the young kids do it...

Keep up! :D
 
Dang what's this world coming to?

Well this forum is soon to become the Music video forum.
Did you check out the video that I posted in the BBS feed back forum in regards to the poll?
 
It made me feel like a kid again!:rolleyes:

Seriously good man. You totally lucked out with some talent there. I could only imagine how horrible it could be if some parent approached you with their kid wanting to produce a 'recorder' solo record. Hey, we could add that to the bongo/cowbell/cajon/castanet/shaker/rain-stick/triangle/maraca/claves/washboard/with gong solo tune were going to put out!!

:D:D:D:D
 
SEDstar said:
a Dmaj is a Dmaj is a Dmaj... regardless of which of those 3 notes are played in whatever octave...

the root (1st) is STILL the root, and just becuse you "open up" the chord and stick one of the component tones into the bass... the root (1st) has not changed...
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Haha I know many people who would fight you to the death over that! :laughings:
 
moresound said:
Dang what's this world coming to?
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Armistice said:
I didn't invent the slash system, it's common knowledge amongst guitarists and I'll continue to do whatever I feel like, notating however I feel like, and not care in the slightest if others don't understand it. My experience, however, is that they do...
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I smile wryly because when I first started playing guitar, I had no idea about the slash note being the bass in the chord. For years, I thought that it meant the alternative chord that could be played ! When I played bass, it wasn't a problem, obviously, but on guitar, it would often take songs to really unusual places ! But it was good in a way because I could hear things that schooled and trained musicians couldn't. They'd say things like, "you provide some really interesting chords when you're on guitar", meaning "You're an untrained, unruly primitive ! Now these are the proper chords...."
But without a doubt different inversions sound different, almost to the extent that they make up a new chord. I remember playing "Morning has broken" with a keyboardist last century and I happened to tape it {well, actually, my friend did}. When I listened back to it, the keyboards were sumptuous, really gorgeous. Whenever that song was to be played, I always went on at him to play those particular chords. But he could never recall the inversions he had used that one time so it never sounded the same. It was always such a damp squib which drove me nuts for such a cosmic song.
A similar thing happened last year when I was toodling a bit on guitar for my friend who was trying to get some demos done. Her cousin had worked out the music on guitar but he's a player and though I had the chords, I couldn't play it the way my friend's cousin had. He used different inversions that I could only dream of, even with a capo. My friend and I got quite tetchy with each other because of it !
If someone is playing piano or harpsichord or some keyboard instrument, I often get them to use a different inversion, just to see how it changes things up.
 
chords have names?


so crooked three fingers would be a C so it seems...brilliant stuff
 
I think we need an 18th century part writing sub-forum.
 
Of course I'm refering to the rules for 4 part compositions such as Chorales.

C'mon...who's with me?!
fack.png
 
TeyshaBlue said:
Of course I'm refering to the rules for 4 part compositions such as Chorales.

C'mon...who's with me?!
fack.png
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I agree! I also think we need a forum where HR's members can discuss the Negro Spirituals.
 
This forum will soon become the music video forum.

So learn your theory now! :rolleyes:
 
Yes I did... talented little tackers aren't they! I hate them... :laughings:

So many opportunities around now these days to just do stuff, who'd a thunk it would turn out this way... back when I was a lad... :mad:
 
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