The Inversions of the Triad

• the fundamental is not always in the bass
• when it is another tone, this is called an inverted triad
• when the fundamental is put into another place in the chord this is an inversion
• every triad had 2 inversions !

• the different inversions of the triad have different sonic properties
  • the fundamental or root position triad contains a perfect consonance [P5]
    • the french call this consonance “accord parfait”
  • the inversions contain no perfect consonance
    • therefore they are better suited for harmonic progression and movement
      • they are found in the middle of a composition
        • not often at the beginning
        • never at the end
• doublings now begin to change due to inversion
  • the 3rd of a chord is not sonorous
    • therefore in a chord of the sixth [third in bass] the root or the fifth should be doubled
      • this will lead to exceptional positions in voice leading
      • doubling the third is not totally prohibited if it can be justified with good voice leading
• chord of the sixth [first inversion] series
  • this is the only type of inversion that can follow itself without poor voice leading
    • best voice leading is as follows
      • two of the voices should move in parallel with the bass while the other should be in contrary motion
        • this is to create correct doublings
        if the bass moves upward → start by doubling the fifthif the bass moves downward → start by doubling the fundamental

• the third of a dominant chord leading to a tonic is to never be doubled [leading tone]
• a six-four chord [second inversion] should have its fifth doubled to avoid concealed octaves, which are common with and surrounding the chord
• [for later] the chord of the sixth is important for cadences
• concealed octaves and fifths need to be rooted out by keeping a clear mind to the fact that the positions of a triads need to constantly be changing
  • these types of things can only happen when a motive demands it
    • but even then, they must be present in the changing of motive, not in the motive itself
• first inversion [the chord of the third and sixth] or [the chord of the sixth]
• second inversion [the chord of the sixth and fourth]