chord inversions

If there is more than one pitch in a chord, is there more than one way to arrange the pitches? But of course. Triads such as C major, can be found in what theorists call different "inversions." This juxtaposition of the triad is intellectually a very simple process and the rules and terms governing inversions basically apply to any triad, major or minor, available within the equal tempered system. With three note chords there are basically three possible voicings, two of which are termed inversions, and each of these three possibilities are denoted by a different name. The basis for these inverted triads is in what pitch of the three note chord is in the bass voice. Lets explore these configurations and label them accordingly. Here is a C major triad in it's two inversions. Oh, are you hip to spelling out the pitches of chords? Example 1.

Measure 1 above finds the C triad in root position, implying that the letter C, the identifying pitch that names the chord, is the lowest pitch or bass note of the voicing. "First inversion", in bar 2, simply implies the the third of the chord, in this case the pitch E, is the lowest pitch in the chord. The chord or triad is still a C chord, it's just said to be in first inversion. "Second inversion", in bar 3, finds the fifth of the triad in the bass. We still call it a C chord, but can now make the further distinction that it is in second inversion. Cool with this? Any idea when these "inversions" first originated?

So why are inversions potentially important for the creative musician? Well, each of the voicings are said to have different musical timbre or color, although their musical function is essentially the same. We oftentimes use the different inversions to smooth out chord progressions, create new voice leadings, and to "disguise" the direction we are going. Inversions also provide yet another "variety" of possible harmonic choices, expanding our artist palette. Obviously root position triads have a firmer sense of tonal centering, first inversion is a bit of a "softer" tonic quality, while second inversion adds a bit of brightness, boldness and fullness to root position chords. Each player must examine the possibilities and decide on their appropriate usage and characterization themselves.

Incorporating inversions of various chords into ones music is oftentimes based on what's needed in the music. Is there a bass player in your band? Is the sound of the style music you're creating very root dependent, as say in rock and metal? Or are you a solo artist looking for ways to fine tune the emotional potential of your harmonies? Is it safe to say that most of us start with root position chords and thoroughly lock in their harmonic and cadential motion before venturing forth? Probably. As one's ear evolves artistically over the years, hearing the "need" for or "perfect" placement of first and second inversion chords will happen organically and may gradually become essential in their art. Through listening, learning songs and experimentation, the different colored "hues" provided by inversions may become a necessity, which even in this new millenium, is perhaps still the mother of invention?

Lets look at a few basic musical ideas using some of the above concepts and each of the three basic chord types. This first idea is pretty common. Here we use a first inversion tonic chord "softening" the motion between One and Four, using C major as our tonal center. Example 2.

Sound like pop music from the 60's? The first inversion tonic chord puts an E in the bass of the second bar, setting up the half step motion to F in bar 6. The repeat sign after the root position Five chord in bar 7 creates a authentic cadential motion upon sounding the root position tonic, with the tonic pitch also in the lead. In this next idea, we use the 2nd inversion tonic triad to move to Four. Example 2a.

This next idea is quite similar in harmonic motion and use of the first inversion tonic chord moving to Four as in example 2 above, but differs in that we are in the blues environment, so we're thinking dominant harmony and additional color tones. Thinking C blues, we can simply cycle these chords into a vamp. Example 3.

Joe Zawinal's cool composition "Mercy Mercy Mercy" uses this style of bluesy vamp to get things started. Are ya hip? A pretty common vamp, motion from One to Four works well as an intro, perhaps a jam vamp or to take a tune out.

Third inversion? Yes, there is a third inversion of equal tempered chords. Let's explore the possibility. Using the dominant harmony coloring based on the root G, compare the following voicings. Example 4.

So where might we use these different hues of the dominant color? Let's place these chords in a resolving manner and see what we come up with. First, the root position Five chord moving to One. Example 5a.

Look familiar? Tis a very common cadencing whereby the resolving root motion is upward by perfect fourth in bar 20 then downward by perfect fifth in bar 22. The following idea uses the first inversion dominant Five chord to a root position tonic. Here we are using the leading tone of our parent scale to solidify the motion to the tonic. Example 5b.

Second inversion G 7 to root position tonic C major. Here we gain a resolving motion down by whole step in the bass. Example 5c.

Third inversion G 7 to first inversion tonic C major then 2nd inversion. Example 5d.

Cool how the 3rd inversion root of the dominant chord can move by step to either of the 1st or 2nd inversion of the tonic chord. Can you sense how we have "softened" the cadential motion, restraining or reducing the sense of tonal gravity? Compare this softer cadence to the root position Five / One from example 5a. Example 5e.

Cool with this softening process of sound? Third inversion can solidly obscure the tonal intent. Why would we want to do this? Well, all part of one's artistic development into becoming a master of disguise.

Crossing over into the fourth inversion, placing the 9th degree in the bass, can dramatically reduce our sense of tonic center and tonal gravity, potentially opening the door into the polytonal universe. Compare the following tonic chord inversion possibilities. Example 5f.

Hear any possibilities to add to your ideas? With the dominant colors, fourth inversion can help us to "get out there." Compare the possibilities. Example 5g.

What is the term for how the pitches are arranged in a chord? Voicing? Yep. With the Two chord type, using the fourth inversion can definitely darken things up in a hurry. Especially with using closer intervals in the lower harmonic structure. Compare the possible colors. Example 5h.

From the above idea, do you see what is in the upper part of the D minor 9 chord? See the F major triad in the upper part of the D minor 9 in bar 54? Cool. Example 5i.

As we remove our harmony further from it's diatonic root, we gradually diminish the sense of tonal center and it's inherent sense of tonal gravity. As we achieve this quality in the music, we open up the potential to begin to include musical elements that are not only non-diatonic, but merging into creating a polytonal environment. This vast domain of color is where many of America's greatest music artists have aspired to hang and create their work, and with the amount of artistic freedom from tonality, who can blame them?

Perhaps in closing this discussion, a bit of advice when using and identifying chord inversions. As my college professor Dr. Miller used to quip, "if you think from the root of the chord o'le boy, you'll never get lost." Thanks again Doc and may God bless you. So, have a basic idea of what creating different chord voicings using inversions is about? How about voicing chords in diatonic fourths, what theorists like ourselves refer to as quartile harmony.

Where to next?

review new ideas

"A joyful heart makes a cheerful face." Proverbs 15:13