Inversions
The most basic way to define inversions is a “different way to play a chord.”
RULE: The number of notes in the chord determines how many different ways (inversions) you can play it. So what it tells us is that Inversions are determined by chord quantity.
Triads have 3 notes. You can play them 3 different ways.
When the 1st tone/degree of the scale (or root) is on the bottom, we call this “ROOT POSITION.”
RULE: The number of notes in the chord determines how many different ways (inversions) you can play it. So what it tells us is that Inversions are determined by chord quantity.
Triads have 3 notes. You can play them 3 different ways.
When the 1st tone/degree of the scale (or root) is on the bottom, we call this “ROOT POSITION.”
When the 3rd tone/degree of the scale is on the bottom, we call this “FIRST INVERSION.”
When the 5th tone/degree of the scale is on the bottom, we call this “SECOND INVERSION.”
Triads are a lot easier to think about than seventh chords. That’s why I prefer to think about a C major 7 chord as “E minor over C bass” (bass = left hand).
The root inversion makes the root the first note in the chord. The 1st inversion makes the root the third note in the triad chord. The 2nd inversion makes the root the second note in the triad chord.
Since seventh chords have 4 notes, you can play them 4 different ways:
ROOT POSITION
The root inversion makes the root the first note in the chord. The 1st inversion makes the root the third note in the triad chord. The 2nd inversion makes the root the second note in the triad chord.
Since seventh chords have 4 notes, you can play them 4 different ways:
ROOT POSITION
FIRST INVERSION
SECOND INVERSION
THIRD INVERSION
As you can see, things get a little more complicated.
Here’s the problem with inverting chords like this (besides the fact that it’s harder to invert 4 notes than it is 3). In contemporary music, you won’t find musicians repeating the “keynote” of the chord in their right hands. In other words, assuming you’re playing by yourself without a bass player, you’re already going to have “C” in your left-hand bass note. It is often times redundant to put the “C” in your right hand (as illustrated by the inversions above).
Not only is it redundant, it doesn’t sound as good as leaving it out of your right hand.
When you take “C” out your right hand, what you’re left with is:
Here’s the problem with inverting chords like this (besides the fact that it’s harder to invert 4 notes than it is 3). In contemporary music, you won’t find musicians repeating the “keynote” of the chord in their right hands. In other words, assuming you’re playing by yourself without a bass player, you’re already going to have “C” in your left-hand bass note. It is often times redundant to put the “C” in your right hand (as illustrated by the inversions above).
Not only is it redundant, it doesn’t sound as good as leaving it out of your right hand.
When you take “C” out your right hand, what you’re left with is:
When playing inversions, you can combine multiple inversions e.g. 1st inversion with the 3rd inversion, to add flavor to your sound. If you want to concentrate on roots, then you can “super-impose” a root different from the main root i.e. instead of using a ‘do’ root when playing the 1st inversion, you could use a ‘mi’ root to add spice. Or you could use a ‘sol’ root on the 2nd inversion. All this depends on the progression of the song being played. It is not a compulsory implementation.
So, when do we use inversions?
This will depend on the melody of your song. If the melody is “G” and the song calls for a C major 7 chord, you’ll put the inversion that keeps “G” on top so that you’re not sacrificing your melody. In this case, you’ll play C in your bass and “B+E+G” (E minor) on your right. Notice the inversion is “B+E+G.” (illustrated above)
Now, I know you may get a little confused here since I’m not including the root of the chord in my inversion. I’m just spelling it out the way a skilled musician will choose to play the chord, even though I am using a technique of voicing in it. In actual sense, the chord should read “B+C+E+G”.
It’s easy to get confused with the differences in inversions and voicings. Inversions are just a reshuffling of the notes in a chord, while voicing has to do with a skeletal framework of the chord whilst re-voicing it. Voicing has to do with various improvisations or techniques of sounding your chords. So, you are literally adding or subtracting from the chord to give it unique sounds. Inversions keep all the notes in the chord whilst just reshuffling them.
So, when do we use inversions?
This will depend on the melody of your song. If the melody is “G” and the song calls for a C major 7 chord, you’ll put the inversion that keeps “G” on top so that you’re not sacrificing your melody. In this case, you’ll play C in your bass and “B+E+G” (E minor) on your right. Notice the inversion is “B+E+G.” (illustrated above)
Now, I know you may get a little confused here since I’m not including the root of the chord in my inversion. I’m just spelling it out the way a skilled musician will choose to play the chord, even though I am using a technique of voicing in it. In actual sense, the chord should read “B+C+E+G”.
It’s easy to get confused with the differences in inversions and voicings. Inversions are just a reshuffling of the notes in a chord, while voicing has to do with a skeletal framework of the chord whilst re-voicing it. Voicing has to do with various improvisations or techniques of sounding your chords. So, you are literally adding or subtracting from the chord to give it unique sounds. Inversions keep all the notes in the chord whilst just reshuffling them.