Now I'm really confused. I was talking about doing the drop 2 of the standard inversions, which is what I thought Bo was talking about. /
Me too.
I understood that for Drop 2, the starting point is a close-voiced 7th chord. There are only 2 ways to close-voice a 7th chord: R-3-5-7 and 7-R-3-5. So that would mean there are only two Drop 2’s per chord. Everything else is either an open voicing or an inversion, or both.
Bill McCloskey wrote:
Wouldn’t that make the formula
Root: 5 R 3 7
1st inversion: 7 3 5 R
2nd inversion R 5 7 3
3rd inversion 3 7 R 5
? Or am I misunderstanding something?
Yes I think so. In conventional music theory anyway, the inversion of a triad or seventh chord is determined solely by reference to the bass note, no matter how the upper tones are reshuffled. In an ensemble, the lowest note would typically be played by the cello, bass guitar, etc.
If the lowest note of the chord is the root, the chord is in root position. If it is the third of the chord, the chord is in the 1st inversion. If it is the fifth of a chord, it is in 2nd inversion. For a seventh chord, if the seventh is the lowest note, the chord is in the 3rd inversion.
This notion arises initially in the analysis of European music of the "common practice period," i.e., roughly, the music of the 17th through 19th centuries. How it might be applied to other kinds of music, like 20th century classical music, jazz, pop etc. might be more variable (non-standardized) depending on the context - I haven't much looked into that.
great info, off the road and into the weeds a bit but I liked it
An inversion in jazz is still an inversion.
Reggae is full of them.
The descending bass line in your average crummy pop ballad contains at least three.
Make sleeping dogs tell the truth!
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