When we learn about creating a chord from a scale, we list the notes in order of appearance: Root, 3rd, 5th.
However, swapping this order around can sometimes be really effective. Shifting the 3rd (or b3) to the bottom gives what classical composers call a ‘first inversion’.
This time around we’re going to move the 5th to the bottom, making a ‘second inversion’. It’s still the same chord, but the emphasis shifts from the Root and gives the chord a slightly different feel.
For example, play a regular C major chord and follow up with a G major. This is all fine, of course, but maybe there’s more we can do with it… How about using a second inversion for that C chord?
In practice, this means swapping the 5th (G) to lowest note instead of the Root (see Example 1 below). These days, we’d usually call this C/G – and it really sets us up in a grand way for that G chord.
Example 1. C/G
This is a C chord with the 5th (G) on the bottom. Its ‘official’ name would be C (second inversion), but you’ll usually see it referred to as C/G – a slash chord.
This is worth experimenting with in the context of a chord progression: for example, before a standard G chord. Hear it in action on Pulling Mussels (From The Shell) by Squeeze.
Example 2. Am/E
The inversion/slash chord approach can be applied to minor chords, too, as demonstrated by this Am/E (aka A minor second inversion).
This leads beautifully into a standard E major, or maybe try a D major first inversion (D/F#). You could potentially expand from here to form a counter melody in the bass – like Bach!
Example 3. G/D
Here’s another shape that gives us a second inversion, in this case a G/D. We’ve simply omitted the root, leaving the 5th (D) at the bottom.
Obviously, if the bassist plays a G root under this it won’t be particularly effective, but on the flip side you could ask them to play a D under your regular G chord or powerchord.
Example 4. D/A
Here’s another shape that you’ll find useful for exploring the second inversion sound – in this example, a D/A. It’s a darker, more grandiose sound than a regular D major.
This could be the perfect way to give a more standard chord progression a lift, without getting too complex or losing its character.
Example 5. Em7/B
This movable shape allows us to play a second inversion minor 7 chord anywhere on the fretboard. It’s an Em7/B.
In this position, you could allow the open first and second strings to ring. Give it a try – while this won’t work everywhere, there are some nice surprises lurking.
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