Chord Inversions

An inversion changes which note is in the bass (lowest voice) without changing the chord's identity. Inversions are essential for smooth bass lines and effective voice leading.

Triad Inversions

A triad has three positions:

• Root position: Root in the bass. C-E-G. Most stable, strongest root definition.
• First inversion: 3rd in the bass. E-G-C. Lighter, less grounded. Creates smooth bass motion.
• Second inversion: 5th in the bass. G-C-E. Least stable. Often used as a passing chord or cadential gesture (the "cadential 6/4").

Seventh Chord Inversions

A seventh chord has four positions:

• Root position: Root in bass. C-E-G-B.
• First inversion: 3rd in bass. E-G-B-C.
• Second inversion: 5th in bass. G-B-C-E.
• Third inversion: 7th in bass. B-C-E-G. Creates a strong pull downward by half step.

Slash Chords

In lead sheet notation, inversions are written as slash chords: C/E means C major with E in the bass (first inversion). C/G means C major with G in the bass (second inversion).

Not all slash chords are inversions. C/Bb puts a non-chord tone in the bass and effectively creates a C7 sound. F/G (F major over G bass) creates a G11 sound. These are sometimes called compound chords.

Why Inversions Matter

Root-position chords jumping around create choppy, disconnected bass lines. Inversions allow the bass to move stepwise while the upper voices move smoothly. Consider the difference:

• Root position: C -> F -> G -> C (bass jumps: 4th, 2nd, 4th)
• With inversions: C -> F/C -> G/B -> C (bass: holds, descends by half step, holds)

The second version is far smoother. This principle drives classical counterpoint, jazz voice leading, and effective guitar arranging.

On Guitar

In fourths tuning, each inversion has a consistent shape that transposes freely. Learning all inversions of triads and seventh chords across string groups gives you a complete voice-leading vocabulary for chord melody and comping.