Chord with non-root in bass (1st, 2nd, 3rd inv.); shapes bass lines and smooth voice-leading.
Inversions
Inversions are chord voicings where a note other than the root is placed in the bass.
They don’t change the chord’s identity — only its voicing and bass motion — but the effect can be profound: inversions make progressions smoother, connect harmonies stepwise, and balance texture.
They are fundamental to classical voice leading, jazz voicings, and pop ballad writing alike.
Structure
A triad has three possible positions depending on which note is in the bass.
| Inversion | Bass Note | Example (C Major) | Notes | Symbol |
|---|---|---|---|---|
| Root Position | Root (1st degree) | C–E–G | C–E–G | C |
| 1st Inversion | 3rd | C/E | E–G–C | C⁶ or C/E |
| 2nd Inversion | 5th | C/G | G–C–E | C⁶⁴ or C/G |
Seventh chords and beyond can have additional inversions, as each chord tone can be placed in the bass.
| Chord Type | Possible Inversions | Example (C7) | Notes |
|---|---|---|---|
| Seventh chord | Root, 1st, 2nd, 3rd inversions | C7, C7/E, C7/G, C7/B♭ | C–E–G–B♭ reordered |
| Ninth chord | Five possible | C9, C9/E, C9/G, C9/B♭, C9/D | Adds melodic bass motion |
Classical Figured Bass Notation
| Inversion | Interval Structure | Figured Bass | Example |
|---|---|---|---|
| Root Position | 5th + 3rd | 5/3 | C |
| 1st Inversion | 6th + 3rd | 6 | C/E |
| 2nd Inversion | 6th + 4th | 6/4 | C/G |
| 3rd Inversion (7th chord) | 6th + 4th + 3rd | 4/2 | C7/B♭ |
In modern pop/jazz writing, we simply use slash notation (e.g., C/E instead of C⁶).
Function and Effect
| Inversion | Bass Movement | Typical Use |
|---|---|---|
| 1st inversion | Stepwise motion | Smooth link between chords (C–C/E–F) |
| 2nd inversion | Cadential or pedal use | C/G–G7–C closure or sustained bass |
| 3rd inversion (7th chord) | Pulls downward | G7/F → C for dominant resolution |
Voice leading principle:
Each inversion changes which intervals are closest in motion — the bass note moves stepwise while upper voices move minimally.
Sound and Character
- Mood: balanced, flowing, often more lyrical
- Color: less root-heavy, more melodic bass
- Function: defines direction and connection between harmonies
- Texture: redistributes weight, freeing melody or bass to sing
Inversions are the grammar of harmony — how one chord flows logically into the next.
Common Progressions
| Progression | Example (in C) | Effect |
|---|---|---|
| I – I/3 – IV | C – C/E – F | Stepwise bass, smooth cadence |
| V – V/3 – I | G – G/B – C | Descending bass resolution |
| I – IV/6 – V | C – F/A – G | Lift into cadence |
| I – V6 – vi | C – G/B – Am | Pop ballad motion |
| ii6 – V – I | Dm/F – G – C | Classical pre-dominant setup |
Real-World Examples
| Song | Artist | Use |
|---|---|---|
| “Let It Be” | The Beatles | C–G/B–Am–F stepwise inversion line |
| “Hey Jude” | The Beatles | I–V6–vi pattern for smooth build |
| “Your Song” | Elton John | Rolling inversions drive harmonic flow |
| “Someone Like You” | Adele | I–V/3–vi–IV voice-leading hallmark |
| “Don’t Stop Believin’” | Journey | Constantly shifting inversion bass line |
Application Tips
- On piano, move bass one step at a time while keeping upper notes stable.
- On guitar, use slash chord shapes (C/E, D/F#, etc.) for easy inversions.
- Combine inversions with suspended or added tones for richer movement.
- Avoid muddying low registers — inversions sound clearer when bass notes are distinct.
- Think of inversions as motion tools, not just chord shapes — they connect harmony and melody.
Summary
| Attribute | Value |
|---|---|
| Formula | Root, 1st, 2nd (and 3rd, etc.) depending on bass |
| Tonality | Unchanged — same as base chord |
| Emotional Color | Smooth, flowing, connected |
| Function | Voice-leading and bass-line control |
| Common Progressions | C–C/E–F; G–G/B–C; F/A–G–C |
| Used In | Classical, jazz, pop, ballads, film, gospel |