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Me too.Bill McCloskey wrote:John,
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. /
There are four ways to close-voice a 7th chord, as shown in the article Bill linked to: Root position and three inversions.Fred Treece wrote:There are only 2 ways to close-voice a 7th chord: R-3-5-7 and 7-R-3-5.
great info, off the road and into the weeds a bit but I liked itJohn Alexander wrote: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.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?
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.
It is a wonderful progression. Mostly circle of 4th. Autumn Leaves has same, no wonder it is popular.Stuart Legg wrote:my favorite chord progression
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