{"id":18949,"date":"2019-02-20T00:00:00","date_gmt":"2019-02-20T08:00:00","guid":{"rendered":"https:\/\/www.hearandplay.com\/main\/?p=18949"},"modified":"2024-10-05T05:44:20","modified_gmt":"2024-10-05T13:44:20","slug":"ask-dr-pokey-why-are-chords-inverted","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/ask-dr-pokey-why-are-chords-inverted\/","title":{"rendered":"Ask Dr. Pokey: “Why Are Chords Inverted?”"},"content":{"rendered":"

If you are interested in knowing the answer to the question “why are chords inverted?” <\/em>this lesson is for you.<\/p>\n

A vast majority of musicians believe that the reason why chords are inverted is because it affords us more than one way to play it.<\/p>\n

While this might sound like the reason or purpose for inverting chords, it isn’t the real reason why chords are inverted.<\/p>\n

The only way to find out why chords are inverted is to read on because I’ll be explaining it step-by-step in this lesson.<\/p>\n

But before I do so, let’s refresh our minds on the concept of inversion.<\/p>\n

Quick Insights On The Inversion Of Chords<\/h2>\n

The concept of inversion (on the keyboard) is concerned with the change of the order of the notes of a chord<\/p>\n

“So, Why Are Chords Inverted?”<\/em><\/h2>\n

The reason why chords are inverted is for smoothness in chord progressions. In the key of C major:
\n
\n…where chord 1 is the C major triad:
\n
\n…and chord 4 is the F major triad:
\n
\nA chord progression from the C major triad to the F major triad will not sound smooth<\/em> if both chords are played in root position<\/p>\n

C major triad:
\n
\nF major triad:
\n<\/p><\/blockquote>\n

Let us see how the principle of voice-leading can help us play smoother<\/em> chord progressions.<\/p>\n

The Voice-Leading Principle In Chord Progressions<\/h3>\n

As long as you’re interested in creating smoother chord progressions, you can’t ignore voice-leading principles.<\/p>\n

Attention: <\/strong>Subsequently, we’ll be considering the notes of a chord as voices or voice parts. Consequently, every chord tone is a voice\/voice part.<\/p>\n

Although there are so many principles and guidelines to voice-leading, you’ll find this one most relevant:<\/p>\n

When two chord have one or more voices in common,<\/em><\/p>\n

    \n
  1. …the common voices are retained.<\/em><\/li>\n
  2. …the rest of the voices move to the closest possible option.<\/em><\/li>\n<\/ol>\n

    In the case of the progression from the C major triad (the 1-chord):
    \n
    \n…to the F major triad (the 4-chord):
    \n
    \n…we have two things to keep in mind:<\/p>\n

    \n
      \n
    1. The common voices to be retained<\/li>\n
    2. The rest of the voices to me moved to the closest possible option.<\/li>\n<\/ol>\n<\/blockquote>\n

      So, what are the common voices to be retained in both chords:<\/p>\n

      The C major triad:
      \n
      \nThe F major triad:
      \n<\/p><\/blockquote>\n

      The common voice in both chords is C:<\/p>\n

      C:
      \n
      \n…is the first tone in the C major triad:
      \n
      \nC:
      \n
      \n…is also the fifth tone in the F major triad:
      \n<\/p><\/blockquote>\n

      So, in the movement from the C major triad:
      \n
      \n…to the F major triad:
      \n
      \n…the common voice (which is C):
      \n
      \n…has to be retained (as C):
      \n
      \n…while the rest of the voices (which are E and G):
      \n
      \n…will move to their closest possible option:<\/p>\n

      E:
      \n
      \n…will move to F:
      \n
      \nG:
      \n
      \n…will move to A:
      \n<\/p><\/blockquote>\n

      Altogether, “E-G”:
      \n
      \n…moves to “F-A”
      \n
      \n…while C:
      \n
      \n…is retained as C:
      \n
      \nFollowing the voice-leading principle, the C major chord:
      \n
      \n…will move to the F major chord:
      \n
      \n…smoothly.<\/em><\/p>\n

      “But That’s Not All…”<\/em><\/p>\n

      The F major chord (we progressed to):
      \n
      \n…is the second inversion of the F major chord:
      \n
      \nSo, the voice-leading principle adds smoothness to chord progressions and this is only possible through the use of inverted chords.<\/p>\n

      “So, Why Do We Invert Chords?”<\/em><\/p>\n

      We invert chords to add smoothness to chord progressions.<\/p>\n

      Final Words<\/h2>\n

      A vast majority of musicians still believe that the reason why we invert chords is to have other ways of play it. But the inversion of chords has a deeper application and implication than just providing you with an alternate way to play a given chord.<\/p>\n

      We’re just getting started with the voice-leading principle. In a subsequent lesson, we’ll go deeper into exploring it and learning how it works when seventh and extended chords are used.<\/p>\n

      But before then, questions, comments, and contributions are welcome and can be posted in the comment section.<\/p>\n

      See you in the next lesson!<\/p>\n","protected":false},"excerpt":{"rendered":"

      Dr. Pokey in this 10 minutes lesson has finally explained why chords are inverted. <\/p>\n","protected":false},"author":9,"featured_media":22379,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-18949","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","post-wrapper","thrv_wrapper"],"yoast_head":"\nAsk Dr. Pokey: "Why Are Chords Inverted?" - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Dr. Pokey in this 10 minutes lesson has finally explained why chords are inverted.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hearplaymain.wpenginepowered.com\/ask-dr-pokey-why-are-chords-inverted\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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