![]() In fact, most of the progressions you know that use inversions would still work if you ignored everything after the slash. That progression, F F/A Bb C, shows us something important: Chord function doesn’t usually change when you use inversions. ![]() That term, harmonic rhythm, refers to how frequently the chords change. It now makes it that you change chords every 2 beats, and that results in a more predictable and solid harmonic rhythm. This small change does a lot to improve that progression. Let’s say, for example, that you’ve written a chord progression in which F is held for 4 beats, then moves on to the next chords: You can hear that even though the chord is exactly the same (i.e., it uses the same three pitches: F-A-C), the fact that A is the lowest note modifies the sound of the chord in a very small way.Īs a songwriter or arranger of music, you can use that fact - the fact that the sound changes slightly - to your advantage. Now play that same chord, but make sure that the note A is the lowest-sounding note. This is a simple demonstration you can do using your guitar or keyboard instrument. Let’s take a look at an example, and hopefully clear up some of the mystery behind the how and why of inversions. Songwriters can get confused with regard to inversions: why do we use them or need them? What do they do to strengthen musical structure? Do I need to use them when I create a chord progression? In this post, anytime I mention the word inversion, I mean it to be synonymous with slash chord. ![]() If you’re a bassist and you want to improvise on that chord rather than simply playing F, you should improvise on the Dm7 chord, but you’ll probably want to make sure that the strong beats (the first and probably the 3rd beat of every bar) should have you landing on an F. So Dm7/F means that the chording instruments should play Dm7, and the bass instruments should play an F. ![]()
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