Inversions, and spelling a triad
A triad has three notes, and any of them can be the lowest. Which one is on the bottom is the triad's inversion — same chord, same name, different bass note, slightly different feel.
The three positions
Take the G major triad — G, B, D:
| Position | Bass note | Shorthand | Feel |
|---|---|---|---|
| Root position | the root | (no figure) | most stable — the chord standing up |
| First inversion | the 3rd | 6 | lighter, mobile — very common under a melody |
| Second inversion | the 5th | 6/4 | unstable, wants to resolve — often decorates a cadence |
Those numbers
6 and 6/4 are figured bass — an old shorthand where the numbers count intervals above the bass note. A "6" chord has a 6th and a 3rd above the bass; a "6/4" has a 6th and a 4th. Baroque keyboardists read a bass line plus these figures and built the chords on the fly. You just need to recognise the figures when an edition or an analysis uses them.
Why a composer inverts a chord
Two reasons, mostly:
- to give the bass line a smooth shape instead of jumping around;
- to keep a particular melody note on top.
The harmony doesn't change — only which note is holding the floor.
Spelling a triad
To spell the triad on any note: stack two thirds, then adjust to the key. On each degree of G major:
Try it
Inversions and spelling
- 1
- 2
- 3
- 4
The usual mistake
Treating an inverted triad as a new, different chord. It isn't — a first-inversion G major is still G major, still doing the tonic's job in G. Learn to spot the root even when it's in the middle or on top: find the two notes a 3rd apart at the bottom of the stack, and the lower of those is usually the 3rd, which means the root is the note just below it in the chord.