First inversion

The first inversion of a chord is the voicing of a triad or seventh chord in which the third of the chord is the bass note and the root is a sixth (or corresponding compound interval) above it.[1] In the first inversion of a C major triad, the bass note is E—the third of the triad—with the fifth and the root above it, forming the intervals of a minor third and a minor sixth (or corresponding compound intervals) above E, respectively.

{ \override Score.TimeSignature #'stencil = ##f \override Score.SpacingSpanner.strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1/4) \time 4/4 \relative c' { <c e g>1^\markup { \column { "Root" "position" } } \once \override NoteHead.color = #blue <e g c>1^\markup { \column { "First" "inversion" } } <g c e>1^\markup { \column { "Second" "inversion" } } } }

In the first inversion of G dominant seventh chord, the bass note is B, the third of the chord.

{ \override Score.TimeSignature #'stencil = ##f \override Score.SpacingSpanner.strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1/4) \time 4/4 \relative c' { <g b d f>1^\markup { \column { "Root" "position" } } \once \override NoteHead.color = #blue <b d f g>1^\markup { \column { "First" "inversion" } } <d f g b>1^\markup { \column { "Second" "inversion" } } <f g b d>1^\markup { \column { "Third" "inversion" } } } }

In figured bass, a first-inversion triad is a 6 chord (not to be confused with an added sixth chord), while a first-inversion seventh chord is a 6
5 chord.

According to The American History and Encyclopedia of Music:

Inversions are not restricted to the same number of tones as the original chord, nor to any fixed order of tones except with regard to the interval between the root, or its octave, and the bass note, hence, great variety results.[2]

Note that any voicing above the bass is allowed. A first inversion chord must have the third chord factor in the bass, but it may have any arrangement of the root and fifth above that, including doubled notes, compound intervals, and omission (e.g., E–G–C, E–G–C–G', E–C'–G'', etc.)

See also

References

  1. ^ Walter Piston, Harmony, fifth edition, revised and expanded by Mark DeVoto (New York: W. W. Norton, 1987): p. 66. ISBN 978-0-393-95480-7.
  2. ^ Hubbard, William Lines (1908). The American History and Encyclopedia of Music, Vol. 10: Musical Dictionary, p.103. Irving Squire: London. [ISBN unspecified]. Also at the HathiTrust Digital Library
Stub icon

This music theory article is a stub. You can help Wikipedia by adding missing information.

Content Disclaimer

Informasi ini disarikan dari Wikipedia dan disajikan kembali untuk tujuan edukasi. Konten tersedia di bawah lisensi CC BY-SA 3.0. Kami tidak bertanggung jawab atas ketidakakuratan data yang bersumber dari kontribusi publik tersebut.

  1. The information displayed on this website is sourced in part or in whole from Wikipedia and has been adapted for the purpose of restating it. We strive to provide accurate and relevant information, however:
  2. There is no guarantee of absolute accuracy. Wikipedia is an open, collaborative project that can be edited by anyone, so information is subject to change.
  3. It is not intended to constitute professional advice. The content displayed is for informational and educational purposes only. For important decisions (e.g., medical, legal, or financial), please consult a professional.
  4. Content copyright. Wikipedia is licensed under the Creative Commons Attribution-ShareAlike License (CC BY-SA). This means that content may be reused with appropriate attribution and shared under a similar license.
  5. Responsible use. Any risk arising from the use of information from this website is entirely the responsibility of the user.