Piano Chord Inversions Tutorial: Master Triad Voicing Fundamentals

Four-note chords like major 7th have four possible inversions. For C major 7 (C-E-G-B), the inversions are: root position (C-E-G-B), first inversion (E-G-B-C), second inversion (G-B-C-E), and third inversion (B-C-E-G). The same concept applies to minor 7th chords. Practice all inversions in three directions to master their locations on the neck.

Over a two chord, four seventh chord inversions work: dominant 7 second inversion, root position minor 7, third inversion minor 7, and first inversion half diminished. Over a three chord, four inversions work: first inversion major 7 (minor triad with flat six), third inversion major 7 (can sound like a frian chord), root position minor 7, and second inversion minor 7. Over a four chord, four inversions work: root position major 7, third inversion dominant 7 (lydian sound), minor 7 first inversion, and second inversion minor 7 flat five. The instructor demonstrates these chords in context, showing how they create different harmonic colors over each chord type.

This video teaches how to invert chords and add seventh notes. A major triad (do-mi-sol) can be inverted by moving the root note to different positions: root position (do-mi-sol), first inversion (mi-sol-do), and second inversion (sol-do-mi). To create seventh chords, add a seventh note: minor seventh (Bb for C major) creates a dominant seventh chord, while major seventh (B for C major) creates a major seventh chord. Both types of seventh chords can be inverted by moving the root note to different positions, creating four possible voicings for each chord type. The minor seventh is found by going from the root up to the octave and down one whole tone, while the major seventh is found by going from the root up to the octave and down one half tone.

Dominant seventh chords (C-E-G-Bb) differ from major seventh chords only in the 7th note (Bb vs B). Root position uses C (8th fret E string), Bb (8th fret D string), E (9th fret G string). First inversion starts on E (12th fret E string), Bb (13th fret A string), G (12th fret G string). Second inversion starts on G (15th fret E string), Bb (15th fret G string), E (14th fret D string). Minor seventh chords (C-Eb-G-Bb) are minor triads with minor 7th. Root position uses C (8th fret E string), Bb (8th fret D string), Eb (8th fret G string). First inversion uses Eb (11th fret E string), Bb (13th fret A string), G (12th fret G string). Second inversion uses G (15th fret E string), Bb (15th fret G string), Eb (13th fret D string).

Inversions of 7th chords occur when the root is not in the bass position; they are identified by the note in the bass and notated in American chord notation with a diagonal bar followed by the bass note letter. For a major 7th chord (e.g., C-E-G-B), the four positions are: root position (CM7), first inversion with third in bass (CM7/E), second inversion with fifth in bass (CM7/G), and third inversion with seventh in bass (CM7/B). The same principles apply to minor 7th chords (e.g., C-Eb-G-Bb), which are notated as Cm7 with corresponding inversions (Cm7/Eb, Cm7/G, Cm7/Bb).

Drop two voicings are created by taking a basic triad (such as C-E-G) and dropping the second note from the top (the middle note E) down an octave. This simple manipulation transforms ordinary major or minor triads into much more beautiful, resonant sounds. The technique works equally well with various chord types including F major and other keys.

To create fuller, more resonant sounds in band settings, pianists divide chords between hands and repeat notes. Instead of playing all three notes of a chord once, you can repeat notes to fill more frequencies. The left hand should generally use wider intervals like octaves and fifths to avoid muddy bass sounds. The right hand can take other positions. This technique creates a richer, more open sound that fills the keyboard space better than simple chord voicings. You can play notes in any order and use inversions freely.

Open voicing is a technique where you move the middle note of a chord down to create a more spread-out chord voicing. The instructor demonstrates this with C major and F major chords. A drop two chord is created by dropping the second highest note of a chord down. For example, in an E diminished seventh chord, dropping the second highest note (F sharp) creates a drop two version. These techniques create open voicings and are commonly used in jazz and contemporary piano playing.

Open voicings are derived from closed voicing by lowering specific voices by octaves. Drop 2 lowers the second voice (from top) by one octave, creating a slightly wider sonority. Drop 3 lowers the third voice by one octave, creating an even more open sound. Drop 2+4 lowers both the second and fourth voices by one octave, creating the most open voicing among the three. Each technique maintains the same notes but redistributes them to create progressively wider sonority. Care must be taken with lower voice sonority, considering interval limits, instrument timbres, and registral considerations.

A closed voicing places all chord tones within a single octave with no space between them (e.g., C-E-G-C). An open voicing spreads the notes across more than an octave with space between chord tones. Open voicings create a more beautiful, resonant sound in string ensembles by utilizing the full range of the instruments.

The guitar repeats itself in many ways, allowing you to use the same arpeggio shapes across different chords. By learning the G shape and E shape arpeggios, you can apply them to multiple chords in a progression. The G shape arpeggio is commonly used but not played in its entirety - most players only use certain sections. The B string is rarely used in this position because there's no room for additional fingers. Understanding which parts of the shape are practical helps you focus on the most useful positions.

The arpeggio system can be applied to different chord progressions by learning the arpeggio shapes in new positions. For a progression of C Major 7 to B Dominant 7 to E Minor 7, identify the chord tones and learn the arpeggio shapes in the new position. C Major 7 consists of C, E, G, B; B7 consists of B, D#, F#, A; E Minor 7 consists of E, G, B, D. The same arpeggio shapes repeat themselves when applied to different chords up and down the neck. To solidify this knowledge, call out interval numbers and note names as you play through each arpeggio. This helps you learn your note names all across the fretboard.

This section covers fill-in patterns (similar to drum fill-ins) and advanced chord shapes. Fill-ins are added at section changes or every 4-8 bars to add interest, using high pentatonic notes like the 2nd string at the 10th fret. The instructor demonstrates an inverted major 7 chord shape that combines natural and altered tension, creating a unique 'light and dark coexistence' sound. Players learn to control this shape by adding or removing strings. The section also covers octave slide techniques and full bar fill-in patterns for more creative playing.

The half diminished chord (m7b5) is constructed with root, minor 3rd, flat 5, and flat 7th, and can be used to create a complete II-V-I minor cadence by moving the chord shape three frets for the V7 chord and four more frets for the Im chord, producing altered tensions and modern sounds like minor 6 chords; this technique allows guitarists to use only half diminished arpeggios for improvisation over minor II-V-I progressions, creating fresh jazz lines through chord tone arpeggios, enclosures, and chromatic approaches.

When chords are inverted (not in root position), the fill technique adapts by using alternative notes. Instead of the second, the 13th can be used as a substitute. The technique involves playing the fifth, then the fundamental and 13th simultaneously, followed by the third, fundamental, and concluding with the 13th. This approach maintains the fill's function while accommodating the altered chord voicings.