Definition
A slash chord is written Chord/Bass: C/E means “C chord with E in the bass.” The bass can be:
- a note of the chord → it is an inversion (C/E = first inversion, C/G = second inversion, C7/Bb = third inversion);
- a non-chord note → it is a hybrid chord or a pedal (F/G, D/C).
In pop, slash chords are used mainly for stepwise bass lines.
Classic descending basses (C major)
| Progression | Bass | Notes |
|---|---|---|
| C – G/B – Am – Am/G – F – C/E – Dm – G | C B A G F E D G | the most-used descending “scale” in pop |
| C – C/B – Am – Am/G – F – F/E – Dm – Dm/C – G | C B A G F E D C G | version with repetitions |
| C – G/B – Am – C/G – F – C/E – D/F# – G | C B A G F E F# G | with V/V (D/F#) before the V |
| C – Em/B – Am – C/G – F | C B A G F | softer variant |
Real examples
- Procol Harum, A Whiter Shade of Pale (1967, C): the bass descends by step under the progression (C – C/B – Am – Am/G – F – F/E – Dm – Dm/C…), a Bach-inspired model.
- Billy Joel, Piano Man (1973): C – G/B – F/A – C/G – F – C/E – D7/F# – G, with the bass C – B – A – G – F – E – F# – G.
- The Beatles, Let It Be and many piano ballads: C – G/B – Am – F with the bass descending C – B – A.
Ascending basses
- C – C/E – F – G (I – I6 – IV – V): bass C – E – F – G, widely used in pre-choruses.
- F – F#°7 – C/G – Am: bass F – F# – G – A (passing diminished).
- Am – Am/C – D – F: bass A – C – D – F.
Pedals with slash chords
- C – F/C – G/C – C: stationary bass, moving harmony.
- Am – F/A – G/A – Am: minor tonic pedal, typical of electronic pop and cinematic music.
Common hybrids in pop
| Symbol | Reading | Use |
|---|---|---|
| F/G | G9sus4 | soft dominant before the chorus |
| Bb/C | C9sus4 | gospel, soul |
| D/C | Lydian over C | intro, “magic” moment |
| Am/C | C6 | ballad |
| Em/C | Cmaj7 (C E G B) | soft, “dreamy” |
How to choose the inversion
- First inversion (C/E): light, passing. Excellent for connecting by step.
- Second inversion (C/G): unstable; use it as a passing chord, as a pedal, or as a cadential six-four.
- Third inversion of sevenths (C7/Bb): the seventh in the bass wants to fall (Bb → A): C7/Bb – F/A.
Mix and arrangement
- If the pianist plays the inversion but the bassist plays the root, the inversion disappears: decide who carries the line.
- With synth bass and piano, have the bass play the descending line and keep the piano left hand in a higher register (above C3) so as not to create beating.
Producer exercise
- Write C – G/B – Am – Am/G – F – C/E – Dm – G (1 chord per bar, 80 BPM).
- First have the bass play only the roots, then the descending line: compare.
- Add a second line in contrary motion in the high voice (E – F – E – E – F – G – F – G).
Related topics
Chord inversions, sus, add, slash, and hybrid chords, advanced pedal point, line cliché, passing diminished chords.