Jazz Theory 6 TRIAD CHORDS 2 Inversions and Scale-tone triads Triad Chord Inversions Augmented Triad Inversions Where to play chords on the keyboard Scale-tone triads of the major scale Song Practice Quiz and Quiz Answers Ear tests 12 - 14 and Answers Lesson Material - General files Jazz Theory lessons online

JT 6.1 - Triad Chord Inversions

When all chord tones of a chord are played within the range of one octave it is said to be a closed position chord voicing.

Closed position triad chords can be voiced in three different ways :

• root position - when the root note of the chord is at the bottom.

• 1st inversion - when the root is raised an octave, and the 3rd of the chord is at the bottom.

• 2nd inversion - when both the root and the 3rd are raised an octave, and the 5th is at the bottom of the chord.

For example :

Audio 1

When the music requires a specific chord voicing, the chord symbol is written as shown above.
Fm/Ab for example means : play the F minor triad chord with the Ab at the bottom.

Chord inversions are used to produce smooth transitions from one chord voicing to the next.
For example do not play on the keyboard all chords in root position.

Audio 2

Use appropriate chord inversions to create smooth transitions from one chord to the next.

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JT 6.2 - Inversions of the Augmented Triad

The augmented triad is a symmetric chord.
All chord tones of the augmented triad are spaced at equal M3 intervals (4 semitones).

As a consequence the chord tones of one augmented triad are the same for three different chords.

Audio 3

When an augmented chord is played it is therefore ambiguous which chord it actually presents, in above case C+ , E+ or G#+ ?

This ambiguity (present in all symmetric intervals, chords and scales) is a characteristic of atonality. There is no clearly defined key (or key centre) in the music.

JT 6.3 - Where to play chords on the Keyboard

In keyboard playing we distinguish between two types of chord voicings.

1. Closed position chord voicings, where all chord tones are played within the span of one octave.
   These chords are usually played with one hand.

2. Open position chord voicings, where the chord tones are distributed over a span of more than one octave.
   These chords are usually played with two hands.

The following guide rules refer to closed position chords only.

A.
Play closed position chords in the left hand with the bottom note within the range from Middle C to A a 10th below middle C.

Audio 4

Chords played lower than this sound muddy.
Chords played above this range sound tinny.

B.
When playing keyboard accompaniments (comping) with low bass notes in the left hand and closed position chords in the right : play right hand chord voicings so that they straddle Middle C. This sounds best in most cases.

Audio 5

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JT 6.4 - Scale-tone Triads of the Major scale

The fundamental resource for music is the scale. We select notes from a scale to create chords, harmonies and melodies.

The major scale has been the most important resource for most Western music written during the past 300 years. The scale-tone chords of the major scale are a prominent part in Classical, Popular and Jazz music.

Scale-tone chords are chords that are created using only notes from one scale (in this case the major scale).

Repeating this process for each note of the C major scale produces seven scale-tone triad chords.

Audio 6

We can do the same in any key. In the key of F for example :

Comparing the chords from the the above two scales, you see something very interesting.

Although the chords built on the same letter name are not always the same (e.g. G and Gm, Em and Eo), the qualities of the same chord numbers are all identical. I in scale of C is also I in the scale of F, IIIm in C is also IIIm in F, VIIo in C is also VIIo in F. This is not surprising, for the structure of the major scale is the same in all 12 keys. The two semitones of the major scale always occur between the 3rd and 4th note, and between the 7th and 8th note of the scale. The chord qualities of the scale-tone chords are therefore also the same in all 12 keys.

Therefore :

1. The I chord of any major scale is always major (I)

2. The II chord of any major scale is always minor (IIm)

3. The III chord of any major scale is always minor (IIIm)

4. The IV chord of any major scale is always major (IV)

5. The V chord of any major scale is always major (V)

6. The VI chord of any major scale is always minor (VIm)

7. The VII chord of any major scale is always diminished (VIIo)

JT 6.5 - Song Practice

A Happy Day is the first song in this Course.
Players on all instruments : practise this and all other songs in this Course as shown on the Song Practice Example.

Play the melody. Keyboard players play chords in the left hand, guitarists play the chords separately. Play chord root tones only in steady semibreves (4-beat notes), where there are two chords in one bar use minims (2-beat notes). Play all chord tones in steady crotchets (1-beat notes), where there are two chords in one bar use quavers (half-beat notes). Play scale tones in quavers (half-beat notes). Play Latin and Pop songs (and most Jazz ballads) in even quavers. Play Swing tunes in swing quavers : quavers on the beat are long (2/3 beat), quavers off the beat are short (1/3 beat). Both styles : play all off beat quavers that are followed by a rest very short (staccato) and with a light accent (emphasis). Play exercises 2, 3 and 4 using a simple 2-bar Rhythm Pattern.

Leave the scale practice untill you have dealt with this aspect later in the Course (Lesson 15).

Initially you may need to write out the chord tones and scale tones for each song on manuscript paper, but try to memorise them as quickly as possible.

When you can play all above exercises with confidence try to improvise freely (without a rhythm pattern) using the chord tones and scale tones of each song.
Be patient with yourself, this is not so easy.

JT 6.6 - Quiz

A.
Identify the following chords, and specify their voicings (root pos., 1st or 2nd inversion.

B.
Identify the missing chord tones in these chords, and specify their voicings (root pos., 1st or 2nd inversion.
(The missing notes are either in between or above the two notes shown in each case.)

C.
Play and study the music of A Happy Day.
1. What can you observe about the notes that make up the melody of this song.
2. Are all the chords in this song Scale-tone chords of the same scale ?

D.
Write out on manuscript paper the scale-tone triad chords for the major scales of G, D and A.

E.
Write out on manuscript paper the root position and the 1st- and 2nd- inversions for all four triad chord qualities in all 12 keys.
Write them as solid chords or as arpeggios.

Practise them all on your instrument like this :

F.
Write out on Chord Inversion Diagrams the root position and the 1st- and 2nd- inversions for all four triad chord qualities in all 12 keys.
Example for the C major triad :

JT 6.7 - Ear tests 12 - 14

Audio Demo 1 - Triad Chord Inversions.

Played in the following order : major - minor - diminished - augmented

Each chord is played in three closed positions :

• Root position : 1st - 3rd - 5th

• 1st inversion : 3rd - 5th - 1st

• 2nd inversion : 5th - 1st - 3rd

1. Michael row the Boat Ashore begins with a major triad in root position (C - E - G).

2. In the Mood begins with a major triad in 1st inversion (E - G - C).

3. Amazing Grace begins with a major triad in 2nd inversion (G - C - E).

JT 6.8 - Lesson Material