Mike's usual wealth of information has tipped us into a new topic, the "inversion". His example, above, shows a sequence of chords (triads, some with added notes), in various "inversions". The terms derives from the word "invert", which roughly means to up-end, or to stand something "on it's head".

Briefly, in traditional chord theory, all triads are expressed as 1,3,5 which means the root note, the third note above that, and the fifth note above the root (from lowest note to highest). Remember to count the root note as 1, or you'll get confused!

So, CEG is a normal 1,3,5 structure, known as "root position". However, you could have the same set of notes, with the E lowest, the C as the highest note, leaving the G in between. This gives us E,G,C, or 3,5,1, from lowest to highest. It is still a C chord (triad), even though the third note is in the lowest (bass?) position. This form is called the "first inversion".

Likewise, the form with G as the lowest note, E as the highest, and C in between (G,C,E or 5,1,3) is still a C chord, but this form is called "second inversion".

So, the lowest note isn't always the "root".
Still, in most cases, the bass note that underpins a harmonic structure will most often be the root, or name note of a chord.

It can get confusing though, if we try to overanalyze things without understanding the role of musical techniques such as the "pedal point", that Mike mentions, and "passing tones", etc. Sometimes the root of the current chord is missing altogether, if only temporarily. By trying too hard to "theorize", we can end up naming things that are overly complex, and in the end, unimportant (except to those twisted few of us who just enjoy mind benders).

I don't want to leave anyone with the impression that this stuff is entirely useless, so here is a practical example of how to actually use inversions. For guitarists, start by playing a A chord, but only the three highest strings. There you have a classic triad in root position, A,C#,E, in 1,3,5 form.

Now, grab an F chord, then slide it up to the fifth fret. You are now playing an A chord, in first inversion, C#,E,A, or 3,5,1.

Next, grab a D chord, but slide it up to the 9th fret. That is yet another A chord, in second inversion, E,A,C#, or 5,1,3.

From this little example you can see not only that our normal, familiar guitar chord patterns are examples of inversions, but also that there are really only three (basic) patterns to play a major chord on the guitar, as seen in the A, F, and D forms. This discussion could go on and on, but just for fun, try the same example above, but as minor chords. That's right, use the Am, Fm, and Dm patterns.

Before someone gets upset about my oversimplification of the chord patterns on the guitar, consider the E and Em chords. If you look closely, you'll notice that it is really the same pattern as an F, except that the nut is doing the work of the "bar". Likewise, A is really a Bb type chord, and C is really a D type chord.

To see this more clearly, grab a D chord, but do it like so- Play the 2nd fret of both the 1st and 3rd strings with the 1st finger, barred. Now, play the 2nd string at the 3rd fret, with the 2nd finger. Then, play the 4th string at the 4th fret with the 3rd finger. Last, play the 5th fret of the 5th string with the 4th finger. Yes, it is quite a stretch, until you get used to it.

The point is that you are playing a D chord as a C chord pattern. The first finger is doing the work that the nut does, in a C chord. When you play a normal D chord, you are just taking advantage of the fact that the open 4th and 5th strings happen to play notes of the D triad.

Here's a link to a Wikipedai article on chord inversions:
http://en.wikipedia.org/wiki/Inversion_%28music%29


Thanks for all the puzzles!
Emmit Sycamore


[This message has been edited by EmmitSycamore (edited 06-14-2006).]