Inversions and Basslines ©2011
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So far we have been looking mainly at root inversion chords, however inversions are often used to create compelling (often step-wise) bass-lines. There are countless examples, a representative selection of which are below. You'll notice that some of these will include, but are not limited to, CESH elements.
1. I to V(1st inversion) I to V(1st inv) to vi creates a descending bassline: E.g. Let it be (Beatles) Tears Tears in Heaven (Clapton - in A major) major) A Day In the Life (G major)
C
G/B
4 & 4 www
A‹
ww w
ww w
Or the same bassline may occur using an inversion of Imaj7 E.g. No Woman Woman No Cry (Bob Marley)
CŒ„Š7/B
C
& ww
ww
A‹
w w#ww
A‹7/G
ww w
Or a similar concept in minor key:
A‹
E7/G©
www &
ww nw
This mechanism of creating a descending bass line with I(i) to 1st. inv V can be employed in various ways, common in rock music, sometimes in parallel sequences. For example:
C
G/B
G/B
C
C
G/B
D A/C©
G/B
C
A/C©
D
E
& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ #˙˙ ˙˙ n˙˙ #˙˙ ˙˙ ww
2
2. I to iii (2nd inversion) Similarly a move from I to a second inversion iii (or III) chord creates a chromatic descent. 7th forms of any of these chords may of course be used. Some examples:
C
E‹/B
& ww
C
ww
wnww
CŒ„ Š7
E/B
ww
#ww
E7/B
#www
The downward motion may be continued with the vi of IV (1st inv.) Some examples:
C
E‹/B
& ww
A‹
C
A‹
w ww #ww
ww
ww
E7/B
C
ww w
E/B
F/A
ww w
ww #www
3. Continuing down. Once the bass has reached the VI degree through 1. or 2. it may continue downwards with a V, V, 3rd inversion vi7, 1st inversion iv or appropriate combinations thereof, followed by a cadence. Here are a few of many possibe sequences
& & &
C
G/B
V
V
V
C
A‹
V
E7/B
V
V
V
C
V
V
V
V
A‹
E/B
V
V
G
V
V
V
A‹7/G
V
F/A
V
V
F
V
V
V
V
V
V
F/G
V
V
V
C/G
V
C
V
F
F‹/A¨
V
G
V
V
V
V
V
V
V
V
V
V
V
C
V
F‹
V
V
V
C
V
V
4. I to ii to 1(1st inv.) The use of a 1st inversion I chord can create an ascending bass-line of I-ii-I, this can be made more bluesy with a passing diminished chord.
&
D‹
C
™™ V
V
V
D‹
C /E
V
V
V
V
D‹
C
V
™™ V
V
D©º7
V
V
V
C/E
V
V
V
This device of inversions and passing diminshed chords can be taken further with a #ivº to I(2nd inv)
&
D‹
C
™™ V
V
V
D©º7
V
V
C/E
V
V
F
V
V
F©º7
V
V
V
C/G
V
G
V
V
™ V ™
3
5. i to V(2nd inv.) to 1(1st inv.) A simple alternating i-V7 pattern can be given a step-wise bass motion through the use of inversions
&
A‹
E7/B
V
V
A‹/C
V
V
E7/B
V
V
A‹
V
V
V
V
V
V
Using passing diminished chords and a 2nd inversion I chords, an ascending bassline may be achieved.
&
A‹
™™ V
E7/B
V
V
A‹/C
V
V
C©º7
V
D‹
V
V
V
D©º7
V
A‹/E
V
V
V
E7
V
V
™ V ™
6. Static chords with moving basslines The use of a continually moving bass line can create interesting progressions with harmonic implications. Here are some examples C CŒ„Š7/B C7/B¨ F/A F‹/A¨ C/G G
& &
™™ V
V
A‹
™™ V
™™ V
V
A‹/G
V
A‹
&
V
V
V
V
V
A‹/F
V
A‹/G©
V
V
V
V
V
V
A‹/E
™™ ™™ V
V
A‹/F©
V
V
A‹
V
A‹/G
V
V
V
V
V
A‹/G
V
A‹/F
V
V
V
V
V
V
A‹/F©
V
A‹/E
V
V
V
™ V ™
A‹/F
V
V
™ V ™
V
V
™ V ™
E7
V
V
A bass-line can outline a mode under a static chord eg: Mixolydian (Champagne Supernova)
C
&
™™ V
C/A
C/B¨
V
V
V
V
Ionian (Older Chests-Damien Rice) C C/E C/F C/G
C/ G
V
V
™™ ™™ V
V
V
V
V
V
V
V
™ V ™
Major triad with chromatically descending bassline (eg Something - Beatles in A)
C
&
C/B
V
V
C/B¨
V
V
C/A
V
V
V
C/A¨
V
V
C/G
V
V
V
Putting it all together From Something-Beatles, note the use of inversions descending bass lines (both diatonic and chromatic)
# # # &
A
V
C©‹/G©
V
V
F©‹
V
V
F©‹/E
V
V
D
V
V
A /G© /G /F© /F /E
G
V
V
V
V
V
V
V
