Four notes, four possible bass notes, four distinct sounds from the same chord. Root position Cmaj7 sounds stable and grounded. Put the 3rd in the bass and it floats. Put the 7th in the bass and it has a leading-tone pull that wants to resolve downward. Inversions are not just theoretical variations - they are different musical statements that give you control over voice leading, bass movement, and harmonic color.
The Four Positions
| Inversion | Bass Note | Order (bottom up) |
|---|---|---|
| Root Position | Root | 1 - 3 - 5 - 7 |
| 1st Inversion | 3rd | 3 - 5 - 7 - 1 |
| 2nd Inversion | 5th | 5 - 7 - 1 - 3 |
| 3rd Inversion | 7th | 7 - 1 - 3 - 5 |
Cmaj7 in All Four Inversions
Before exploring every chord type, study Cmaj7 through all four inversions. Each inversion puts a different note in the bass, changing the chord's weight and character. Play each one and listen to how the bass note colors the sound.
Root Position
bass: Root
1st Inversion
bass: 3rd
2nd Inversion
bass: 5th
3rd Inversion
bass: 7th
Interactive Explorer
Select a root, chord type, and inversion. The fretboard highlights all chord tones with the bass note distinguished. The chord charts show close voicings on adjacent four-string groups.
Root Position voicings (C-E-G-B from bass)
Voice Leading with Inversions
The Guide Tone Principle
In a ii-V-I (Dm7-G7-Cmaj7), watch what happens to the 3rd and 7th: the F (3rd of Dm7) drops a half step to become the 7th of G7. The C (7th of Dm7) drops a half step to become the 3rd of G7. Then those two voices resolve again into Cmaj7. By choosing inversions that put these guide tones in accessible positions, the chord changes almost play themselves.
Consistent Shapes in Fourths Tuning
Each inversion shape works identically across all string groups. A root position Cmaj7 on strings E-A-D-G uses the same fingering on A-D-G-C or D-G-C-F. Four shapes per chord type give you full access to every inversion everywhere on the neck.
Practice
Smooth ii-V-I
Play Dm7-G7-Cmaj7 using all root position chords first. Then find the path where each voice moves by the smallest possible interval. Start on one string group, then try the same progression on a different group. The smoothest version often uses a mix of inversions.
Bass Line Awareness
Play the same ii-V-I but deliberately choose inversions that create a descending bass line: D-B-C (root position Dm7, 3rd inversion G7, root position Cmaj7). Then try a chromatic bass: D-Db-C. Inversions give you control over the bass voice independently of the chord quality.
Practice with Drone
Start the drone and practice moving through inversions of a single chord. Play all four inversions of Cmaj7 ascending up the neck, then try the same with Dm7 and G7. Once each chord feels comfortable in isolation, connect them: play a ii-V-I choosing the inversion that keeps your hand closest to the previous chord.