---
title: Chord Inversions
category: Chords
slug: chord-inversions
related: [triads, seventh-chords, voice-leading]
url: https://fourthshub.com/docs/chord-inversions
---

# 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.