{"id":54,"date":"2007-10-21T10:09:24","date_gmt":"2007-10-21T17:09:24","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=54"},"modified":"2024-12-25T23:53:50","modified_gmt":"2024-12-26T07:53:50","slug":"how-to-play-smoothly-using-the-power-of-inversions-part-2","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/how-to-play-smoothly-using-the-power-of-inversions-part-2\/","title":{"rendered":"How to play smoothly using the power of inversions Part 2"},"content":{"rendered":"

As you know from other articles of mine:
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“The number of notes in a chord determines how many inversions exists for that chord”
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Example 1:<\/strong> If there are three notes in a chord (as in a “TRIAD”), then there are three inversions for that same chord.<\/font><\/span><\/p>\n

Example 2:<\/strong> If there are seven notes in a chord (like in a “THIRTEENTH” chord), then there are seven ways to play it.<\/font><\/span><\/p>\n

With this being known, the amount of voicings, inversions, and ways to play chords are virtually endless.<\/font><\/span><\/p>\n


\n<\/font><\/p>\n\n\n\n\n\n\n\n
# of notes<\/font><\/strong><\/u><\/td>\nType of chord<\/font><\/strong><\/u><\/td>\n<\/tr>\n
Three<\/font><\/td>\nTriad<\/font><\/strong><\/td>\n<\/tr>\n
Four<\/font><\/td>\nSeventh<\/font><\/strong><\/td>\n<\/tr>\n
Five<\/font><\/td>\nNinth<\/font><\/strong><\/td>\n<\/tr>\n
Six<\/font><\/td>\n Elevenths<\/font><\/span><\/a><\/td>\n<\/tr>\n
Seven<\/font><\/td>\n Thirteenths<\/font><\/span><\/a><\/td>\n<\/tr>\n<\/table>\n

If you have the <\/font> 300pg course<\/a><\/font>, you’ll find more information about this on page 50.<\/font><\/span><\/font><\/p>\n

Review:<\/font><\/span><\/p>\n

Here’s a break down of the inversions that exist in larger chords:<\/font><\/span><\/font><\/p>\n

Seventh chords (4-notes):<\/font><\/span><\/font><\/p>\n

Root position, first inversion, second inversion, third inversion [<\/span><\/font>More info<\/span><\/a><\/font>]<\/font><\/span><\/font><\/p>\n

Ninth chords (5-notes):<\/font><\/span><\/font><\/p>\n

Root position, first inversion, second inversion, third inversion, fourth inversion <\/font><\/span>[<\/span><\/font>More info<\/span><\/a><\/font>]<\/font><\/span><\/font><\/p>\n

Eleventh chords (6-notes):<\/font><\/span><\/font><\/p>\n

Root position, first inversion, second inversion, third inversion, fourth inversion, fifth inversion <\/font><\/span> [<\/span><\/font>More info<\/span><\/a><\/font>]<\/font><\/span><\/font><\/p>\n

Thirteenth chords (7-notes):<\/font><\/span><\/font><\/p>\n

Root position, first inversion, second inversion, third inversion, fourth inversion, fifth inversion, sixth inversion <\/font><\/span> [<\/span><\/font>More info<\/span><\/a><\/font>]<\/font><\/span><\/font><\/p><\/blockquote>\n


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Moving on…<\/font><\/span><\/font><\/p>\n

Now that you understand that the bigger the chord, the more ways to play it, we can look at this concept as it relates to more extended chord progressions<\/a>