Slash chords

[hhold]

Hi all

How do deal with slash chords on the mandolin? Of course sometimes you can keep the bass note on some chords provided it's low enough (see my Funny Valentine) but what in the case of D7/F#?

1 do you ignore them and just play the chord no matter what the bottom note?

2 in the case of D7/F# do you play for example an F# on the D string, C on the A string and A on the E string (G string is muffled) in other words your typical 7th chord position without the root?

3 alternatively do you perhaps play the bass note on the top string instead of the bottom? So instead of a bass run you have a 'treble run'?



Thanks for your help

[JeffD]

I am afraid I usually chose option 1.

If its an ensemble I assume the guitar is going to carry the chord, so I just have to imply it. Especially if its in passing.

As for number 3, I don't like the sound of a bass run on a mandolin. An octave maybe or a mando-cello, but to my ears a bass run on the mandolin sounds forced. Like you are emulating a guitar player or something.

[Pete Martin]

As noted above, the note below the slash is a bass line and is generally played by lower pitched instruments than us. If in an ensemble, one can let the bass/guitar/piano player get that. If not, you can either ignore it, incorporate in your chord voicings or play substitution chords that imply the same or different movement.

[jshane]

I find I like a bass run on the mandolin. If the indicated notes dont fall easily on the G string (ie, D/F#), I have found that you can get a similar, and pleasing, effect by incorporating the run on the D string (even using other chord tones on the lower G string, the flavor of the run can come through) or, a combo of using the D and G strings, if the required notes cross over easily.

Sometimes you can even change the specific notes of the run-- moving it up or down a 3rd or 5th, for example-- to get a different, almost harmonious, effect.

What can I say, I am easily ammused

-j.