Chord inversion

The same notes, a different position

A chord keeps its name whichever of its tones is at the bottom. If the root is at the bottom, it is in root position, if the third is at the bottom, in first inversion, and if the fifth is at the bottom, in second inversion. The notes stay the same.

In the chord symbol the bass note comes after the slash: C/E means C major with E in the bass. The letter before the slash names the chord, the one after it the lowest note.

What are inversions for?

They provide smoother transitions, because fewer notes have to move far when the chord changes. Composers use them to lead the bass line smoothly: the bass moves in small steps instead of large leaps from root to root. This gives a soft, singing foundation. When the third is in the bass (first inversion, six-three chord), the root is missing as a foundation, so the chord sounds more floating and light. For a firm final chord you therefore take root position. A perfect authentic cadence demands root position in both chords.

Seventh chords have inversions too. The diminished seventh chord is an exception: every one of its inversions again consists of three minor thirds stacked on one another and is therefore built the same way.

Common mistakes

• Taking an inversion for a new chord: The name stays, only the bass note changes.
• Equating bass note and root: In root position they are identical, in an inversion they are not.
• Choosing an inversion as the final chord: For a firm ending you take root position.