Choose an inversion for movement, not novelty
Select a chord and compare its positions. Root position places the root in the bass, first inversion places the third in the bass, and second inversion places the fifth in the bass. A seventh chord adds third inversion with the seventh in the bass. The chord name normally remains the same because inversion changes bass placement, not chord identity. Exact spacing above the bass may vary, so C–E–G and C–G–E are both root-position C major voicings.
Worked example: connecting C, F, and G7
Begin with C major as C–E–G. Instead of jumping to F–A–C, use F major in second inversion as C–F–A. Two upper voices move by step or small interval while C stays common. Then use G7 as B–F–G–D or another playable voicing with B in the bass if first inversion suits the bass line. Return to C with C in the bass. The practical choice is a balance: smooth upper voices may be desirable, but the bass still needs a clear and playable contour.
| Chord type | Position | Bass member |
|---|---|---|
| Triad | First inversion | Third |
| Triad | Second inversion | Fifth |
| Seventh chord | First inversion | Third |
| Seventh chord | Second inversion | Fifth |
| Seventh chord | Third inversion | Seventh |
Do not identify inversion from the top note; only the bass decides it. Also avoid treating every rearrangement as a new inversion when the bass has not changed. To practise, write four chords from a progression, circle shared tones, and select the nearest playable position for the right hand. Play the roots alone in the left hand first, then add the chosen right-hand voicings. If a stretch causes tension, omit a doubled note or redistribute notes between hands rather than forcing the shape.
Sources
- Triads — Reference for triad construction and inversion.
- Seventh Chords — Reference for seventh-chord members and inversions.