chord query eg/ Em/D

[8stringdreamer]

I am wondering what it means when there are two chords together separated by a stroke like this: Em/D

Does it mean you can play either? or is it some funky combination of the two?

Thanks for your help
ps also sorry if there have been other threads already about this. i am a bit new here

[craig.collas]

E-/D would be an E- chord with a D in the bass kind of 3rd inversion E-7. Although 'slash cords can resist easy classificatin and that can be their beauty in that they explain a sound in a simple way. Mark Levine handles this well in 'Jazz Theory' (Sher Music)That is different though from polychords which I have seen written more like a fraction with one chord written above the other so an E- over a D might be figured as an E-13. E- with the 7th D , the 9th F# and the 13th A. But it is sometimes easier to think D and E- train smash particularly if you are improvising.
Have a great day.

[swampstomper]

Just to make it clear, the note after the slash is the bass. This is much less important on the mando than on the rhythm guitar. In the example above you'd have to play the D note as 7th fret on the G string, then you could reach the G on the D string for the b3, then the E at the 7th on the A string for the root, then the B on the E string for the 5th. So 7577. Actually, a pretty cool sounding chord!

[Pete Martin]

Usually one sees slash chords written on tunes to give a specifc bass line movement, such as Em Em/D# Em/D Em/C#. If you are playing with a lower pitched noting instrument (piano, guitar) or a bass, a mandolin can let them handle the note after the slash and just worry about the chord (Em in this case). Often the moving sound of the bass line and the static sound of the Em chord sound very cool together, often better to my ears than the mandolins higher notes moving with it.

I often will move the opposite direction with my voicings on solo comping. On the head, I will stay straighter, just playing the Em triad.

In my book, Jazz Chording for Mandolin, there is a section on slash chords in which options for what to play on them is discussed. You can download the pdf (no charge) at my web site.

[8stringdreamer]

thank you, your replies have been most helpful

[journeybear]

If I may just add to what Pete said, the bass line indicated by the slash note and hinted at in the chord progression can be voiced on another string when adapting these chords for the mandolin - the mandolin already being pretty well fixed in the treble range. This may not matter so much in a band situation, where other instruments are tending to this function, but it's nice to pick up on this action when playing solo. Or, as Pete also said, finding chord voicings with counterpoint is a cool way to go.

Example: D D/C G Gm D includes the notes D-C-B-Bb-A, a pretty standard progression and descending bass line. I'd play it with the action on the A string: 2455 - 2435 - 0023 - 0013 - 2002. I know 2435 doesn't have a D in it, but it works as a passing chord. The main point is to learn to see these chord dynamics when reading sheet music.

[Mandolin Mick]

The 1st is the chord, the 2nd is the bass as other guys posted. But, 99% of the time, this doesn't really mean anything on the mandolin unless you're playing some solo jazz piece or something.

As the former bassist and keyboardist in a Beatles tribute band, I had to pay close attention to these. But, in bluegrass it's to be ignored as you would a 7th in most cases because the guitar & bass handle it.

[swampstomper]

But, in bluegrass it's to be ignored as you would a 7th in most cases because the guitar & bass handle it.

I agreed with the first part of the post but not this part -- as I understand it, it's precisely the melody instrument (mando) that has to play the colour tones that define the chord and extensions. You can leave the root and sometimes the 5th to the bass, but you must play the 3rd and 7th to show the tonality. Also extensions like b9, #5, 4 (sus) if they're in the chord.

[Mandolin Mick]

Well, I personally like to change to the 7th. In fact, I've posted here showing guys what I use for 7th chops! But, it's been always been my understanding and from watching other mandolinists, that in fast bluegrass most leave the 7th chops in a major inversion.

So, I guess the confusion is I'm talking specifically about bluegrass chops. But, I personally use 7ths in bluegrass chops and when I play renaissance or Christmas music, etc., I use every 7th, 6th, minor, etc., I can find!