Working With Intervals
22 Ear Training – How Seventh Chords Work in Second Inversion
Inverting Seventh Chords: Second Inversion
Previously, we studied five different types of seventh chords (dd, dm, mm, Mm, MM) in root position and first inversion.
When we notate chords in inversions using figured bass, we abbreviate the intervallic relationships in the chord from lowest to highest pitch using the following shorthand.
Now we will add seventh chords in second inversion to our repertoire. In figured bass notation, we indicate the second inversion of a seventh chord with the abbreviation 4/3.
For ease of recall, commit this table to memory:
| Position | Intervallic Relation | Abbreviation |
|---|---|---|
| Root Position | 1-3-5-7 | 7 |
| First Inversion | 1-3-5-6 | 6/5 |
| Second Inversion | 1-3-4-6 | 4/3 |
| Third Inversion | 1-2-4-6 | 4/2 |
In other words, every 4/3 seventh chord will be composed of a major or minor third between the two lowest pitches; in the middle there will be a major or minor second; and the two highest pitches of the chord will be a major or minor third. The quality of the intervals is determined by the chord quality.
As always, the best way to remember and differentiate between the different seventh chords is to consider their function in diatonic music. Play the following piano workout, which shows the five types of seventh chord in root position, first inversion (6/5), and second inversion (4/3). Play every chord several times, blocked and arpeggiated in ascending and descending motion, noticing their commonalities and differences.
Building Chords Interval by Interval
Commit this table to memory and use the information to check for errors in your notation, piano playing, and/or sight singing.
| Chord | dd 4/3 | dm 4/3 | mm 4/3 | Mm 4/3 | MM 4/3 |
|---|---|---|---|---|---|
| intervallic relation | m3 + A2 + m3 | M3 + M2 + m3 | m3 + M2 + m3 | m3 + M2 + M3 | M3 + m2 + M3 |
| function and solfege | vii0 4/3 in minor – fa le ti re | ii⌀4/3 in minor keys, le do re fa; vii⌀4/3 in a major key, fa la ti re. | ii4/3 in a major key, la do re fa; vi4/3 in a major key, mi sol la do. | Chord V4/3 in major and minor keys: re fa sol ti. | sol ti do mi |
| salient features | This chord may appear in 4/3 presentation in musical contexts. In this class, always ID it as root position. | Symmetrical | Symmetrical | Only 4/3 chord to have m2 |
Tips for Identification of Chord Qualities and Inversions:
- Determine the inversion:
- Can you hear a major or minor second anywhere? If so, the chord is inverted (or it is a fully diminished chord).
- Where in the chord is the second?
- Between the two middle notes: 4/3
- Between top two notes: 6/5
- Is it a major or minor second?
- Minor: the chord quality can only be major-major (MM).
- Major: determine whether the chord is half diminished (dm), minor-minor (mm), or major-minor (Mm). One way to do this is to check the placement of major and minor thirds according to the chart above.
- Now, notate your chord according to the chart above. Check your answer:
- Intervallically, referring to the types of 2nds and 3rds that comprise the chord
- Using solfege
- Relating your answer to key and harmonic function
