PLEASE REGISTER TO POST. Also, be sure to visit the main website www.tedgreene.com

**************************************************************************************
Buy NOW on Amazon
My Life with The Chord Chemist
A Memoir of Ted Greene, Apotheosis of Solo Guitar
Available at amazon.com

*Check it out!!!

YOUR SUPPORT MAKES A DIFFERENCE
Your contributions keep the site healthy and growing


More information HERE

Official Ted Greene Archives Blog

Ted Greene Archives on YouTube

Join Ted on FACEBOOK

NEW! Follow on TWITTER

..:: The Ted Greene Forums ::..
Register Latest Topics
 
 
 


Reply
  Author   Comment  
KirkLorange

Registered:
Posts: 8
Reply with quote  #1 
What exactly does Ted mean by this? It's on the 12 bar blues study. I know all about slash chords but I've never seen a number after the slash. I'm assuming it's a G6 over its fifth but it doesn't seem to sound right in context.

Thanks!
PaulV

Moderator
Registered:
Posts: 1,539
Reply with quote  #2 
Hi Kirk,
The G6/5 chord could be interpreted three ways in this case.
Because Ted wrote it by hand we're not sure if the 6/5 is supposed to be super-script and sub-script (very small font) for a figured bass. (Normally figured bass don't include a slash.) And we don't know if the / or "slash" is meant to be to show the bass note or for an added note.  

Ted often used a slash for an added note:  for example:  for G(add9) he wrote G/9, although this isn't normally accepted in modern chord symbols.  He also did this for dominant 7th chords with an added 6th:  G7/6.  Usually we'd say that was a G13 chord, but Ted used this to make the distinction to show that there was no 9th present in the chord (1, 3, 5, 6, b7).

The slash could also be used to indicate the note or interval in the bass.  So a G/5 might mean a G triad with the 5th or D in the bass.  

Okay, all that out of the way, what do we have?

1) If Ted meant it to be a figured bass, then it would be a G7 chord in first inversion.
2) If Ted meant it to be an added tone, then it would be a G6 chord with the 5th note present (not dropped, and possibly a step away from the 6th), but not necessarily in the bass.
3) If he meant it to be a bass slash, then it would be a G6 chord with the 5th in the bass.  

Based on the progression given, I would say he meant it to be solution #3 - a G6 chord with a D in the bass.  The progression of C#o7 - G6/5 - E7#9 would then have an ascending bass line:  C#, D, E.

Okay, I could be wrong about all this.  Other opinions?

__________________
--Paul
KirkLorange

Registered:
Posts: 8
Reply with quote  #3 
Thanks for that, Paul.

I'd agree except for the fact that it's chord number 1 in the 12 bar progression (lines 3 and 4 on the chart). It's not often that you start a 12 bar progression with a second inversion, is it. That's what threw me when I treated it as second inversion root chord. 
PaulV

Moderator
Registered:
Posts: 1,539
Reply with quote  #4 
I was looking at line 2, measure #7, but it is also on line 2, measure #1
But I don't see it on line 3 or 4.
Are we looking at the same page?
http://www.tedgreene.com/images/lessons/blues/12_BarBluesProgressionStudy_TedGreene_1982-10-29.pdf

__________________
--Paul
KirkLorange

Registered:
Posts: 8
Reply with quote  #5 
Quote:
Originally Posted by PaulVachon
I was looking at line 2, measure #7, but it is also on line 2, measure #1
But I don't see it on line 3 or 4.
Are we looking at the same page?
http://www.tedgreene.com/images/lessons/blues/12_BarBluesProgressionStudy_TedGreene_1982-10-29.pdf


Oh, yes, sorry ... not line 3, 4, but they start with G7/6, which would mean G7/E. Even stranger.
PaulV

Moderator
Registered:
Posts: 1,539
Reply with quote  #6 
Kirk,
When Ted writes G7/6 he most certainly means a G13 chord without the 9th: 1, 3, 5, b7, 6 (or 13).
This is not supposed to be a G7 with an E in the bass as you wrote.

A common voicing for that would be (from low to high):
G, F, B, E  
This doesn't include the 5th.

Or (strings 5-2 or 4-1): 
F, B, E, G  
Again, no 5th.

__________________
--Paul
goldglob

Registered:
Posts: 61
Reply with quote  #7 
Yes, the C#o7 suggests a following G6/D to me (in bars 2>3 and 6>7). And in the first bar, Ted probably meant the D bass to be played on beats 3 and 4,  then keeping the common tone E on the following C7, C#o7 and  G6/D again.
Previous Topic | Next Topic
Print
Reply

Quick Navigation:

YOUR SUPPORT MAKES A DIFFERENCE :: DONATE