The inversion of triads
A chord often is evaluated with respect to its root. If for instance we look at the chord of C major, we think that the C is the fundamental note and should be kept as bass for the fingering. However it's possible to use other low notes, creating chords with different low notes.
The chord C/G is a good example of this: The letter to the left is the name of the chord. The / symbol means that a different bass overlaps the chord, which is the note written to the right.
In this example, the chord of C major has the G as bass, and is read C bass G.
The chord that has the low note of the root, is called the chord in root position.
The term inversion indicates a chord where the low note is changed. The number of inversions a chord can have depends on the number of notes, besides the root, that make up that chord.
To analyze this inversion concept, we will elaborate on some triad exercises. The triad inversions, are very commom both in accompaniment and in the development of harmonically rich rhythms.
In the example below, a simple C major triad is inversed, giving two other triads. The three note chord can therefore have:
- the root position, where the low note is the root;
- the first inversion, where the low note is third degree;
- the second inversion, where the low note is fifth degree.
The concept is simple. The difficult part is learning the positions of the fingerings: for each triad in the previous section there are two new fingerings.
This may create some panic, seeing there are many chords to be learned. But the perfection of these triad techniques gives the musician many creative possibilities.
Lets organize the fingerings of the inverted triads. In the table below, there are four the types of triads: major, minor, diminished and aumented.
Now lets see what are the fingerings for the 1st inversion triads, on the various groups of strings, using the modal development already seen in various scales. The scales used are only examples.
Scale of G major: 1st inversion triads
Fingering on the 6th, 5th and 4th strings
Scale of C major: 1st inversion triads
Fingering on the 5th, 4th and 3rd strings
Scale of F major: 1st inversion triads
Fingering on the 4th, 3rd and 2nd strings
Scale of A major: 1st inversion triads
Fingering on the 3rd, 2nd and 1st strings
Now you can analyze the fingerings of the 2nd inversion triads, as above.
Scale of D major: 2nd inversion triads
Fingering on the 6th, 5th and 4th strings
Scale of G major: 2nd inversion triads
Fingering on the 5th, 4th and 3rd strings
Scale of Bb major: 2nd inversion triads
Fingering on the 4th, 3rd and 2nd strings
Scale of E major: 2nd inversion triads
Fingering on the 3rd, 2nd and 1st strings
The biggest part of the work is still ahead, because the system used in the exercises had the triads in the root position. To get the most from these exercises, you only need to use the fingerings just seen in place of those that you have already practiced. When performing these exercises, I would like to remind you that its best to practice on one key at a time, memorizing one before moving to the next. Once you have performed all the models, they should be repeated until you have completely learned the fingerings.
As you may have noticed, all the harmonizations in these exercises were developed starting from the ionian mode and continuing horizontally along the fretboard to the upper octave.
This was done to help learn the fingerings better. Develop the other keys yourselves: they use the same fingerings that will be found in different frets.
|
|
 Top of page |
|
|
