Inversions
Ok guys. I need a little help. I know what an inversion is, that is a C major triad would be C-E-G, the first inversion would be E-G-C. Right so far?
Well popular opinion would suggest that when playing a bass line over a C major chord you would lead with the C on the first beat. I know it's not an unbreakable rule but most music teachers say exactly that; lead with the root.
So how are you supposed to play an inversion when you'd be starting the bar on an E (or G for the 2nd inversion)? I've tried playing an inversion over a chord and sometimes it sounds Ok and other times not. Is it always going to depend on the context or are there secrets to using inversions?
I use them a little. Often,
I use them a little. Often, what I'll do is stick on the previous root as the chord changes, meaning, if you look at it vertically, I'm on the root for the first chord and some inversion for the second chord. In some contexts this sounds great, in others it sounds like you missed the chord change.
In the key of C, an example of this would be playing a C over a C Major chord and staying on that C when the chord changes to A minor (C is the minor 3rd of Am) or F Major (C is the fifth of F Major) or any other chord where C is a chord tone.
The only trick I've found is to tap the root first and then jump or walk up to the 3rd, 5th, or 7th. This seems to give you the advantage of an inversion w/o there being any question that you made the chord change. :)
Wheat
bassplaying.com
Re: I use them a little. Often,
[quote=wheat]Often, what I'll do is stick on the previous root as the chord changes, meaning, if you look at it vertically, I'm on the root for the first chord and some inversion for the second chord.[/quote]
Ok, I understand that. This would serve well for developing a riff over a couple of chords. Sounds useful. I'll have to give that a try.
[quote=wheat]In some contexts this sounds great, in others it sounds like you missed the chord change.[/quote]
That's what I have found and why I asked the question. Sometimes, maybe most times, playing an inversion sounds like you missed the chord change. At least BiaB doesn't give me funny looks. hahahahaha
[quote=wheat]The only trick I've found is to tap the root first and then jump or walk up to the 3rd, 5th, or 7th. This seems to give you the advantage of an inversion w/o there being any question that you made the chord change.[/quote]
Another good idea. Tap the root, then play the inversion. I suppose a double stop, root & 3rd or root and 5th would work to set up the chord as well. Thanks for the tips Wheat.
It can really depend a lot
It can really depend a lot on the song or part. If you go to my myspace page davemagaroabband listen to the song "Thunder and Lightning" I use them for vocals and bass. On bass it starts at about 4:45. The rythm guitar is just going back and forth from G major and A major as the song key is in D major (most of it anyay). I use the inversions as a build. The guitar starts on a G major chord and I am plucking through the second inversion of G major, so the first note I hit is a B. Next the guitar goes to an A major chord and I go up a full step to the second inversion of A Major where the first note I hit is a C#. Then the guitar goes back down to G Major and this time I keep climbing and use the G major triad and the first note I hit is a D. Then the guitar goes back to A Major, and I drop back down to the second inversion of A major and hit C#, A, E followed by some slamming on the open A. Then I go through a bunch of different chords and the song ends. You'll notice with my use of the inversions that I never start on the root. To me it adds depth and emotional meaning to that part of the song. It also give it a nice build IMO.
Inversions are extremely handy when singing or writing harmonies too. When we hit that third chorus and it's a three part harmony I used inversions when I wrote the harmony part. The chords are simple:
D Major to A Major To B minor to A Major.
"It's hard to find Hevan when you're" has a D major chord and we are singing the second inversion of D major
"living in Hell" has an A major chord and we are drop to the A Major triad.
"You look for solace in a" has a B minor chord and we drop down to the second inversion of B minor.
"Place it can't dwell" has an A major chord and we go back up to the A Major triad.
There's just a couple of examples of how you can use them, or how I use them anyway.
Dave
the place of bass
Bass has it's place in a band, and that place is usually to outline the chord progression and rhythm. If you want to create an inversion by playing an E over a C major chord, you really need to have a good reason for doing so ( it has to suit the "flavour" of the moment), otherwise the bass is not fulfilling it's main function in the band. It can be a really cool effect but it has to be used judiciously and with good reason otherwise it just 'muddies the waters'.
Even when using passing chromatic notes in jazz and soul bass lines, one should be aware that they usually should have a good reason for being there, such as propelling towards the next chord and creating a sense of 'movement', or adding to a sense of excitement.
Fat man, fat bass.
Good point Spiky, one I try
Good point Spiky, one I try to keep in mind. The reason I asked about inversions is to develop more tools to make my lines more interesting. I certainly won't be using them all the time or using them when it isn't appropriate.