Chord Voicing
Inversions
<<<<<<<<< back to Chords on the Diatonic Scale
Chords can be played in any combination of the three member tones. We can play a G chord in three different orders:
G B D This is called root position - because the “root” of the chord is the lowest tone
B D G This is called the first inversion of the G chord.
D G B This is called the second inversion of the G chord.
The most powerful form of the chord is its root position.
The second most powerful form is the second inversion that places the 5th in the bass.
The least powerful form is the first inversion that places the 3rd in the bass.
Also note that the chord members do not have to be within the same octave. You might elect to play a root position G chord using the low G on the bass bridge and the B and D members of the chord on the right side of the treble bridge. Those last two tones would be an octave above where you would expect to find them. However, the low G anchors the harmony tones nicely.
We need all of these tools for this reason. Usually (but as always in music - not always) the melody works best as the highest voice in music. With this constraint, the supporting chord members may be any of the three tones of the chord. So, arrangers use inversions.
On the dulcimer hammering positions sometimes limit playing options and we are forced into using inversions. This is not a limitation. In fact, if all the chords in a piece were played in root position the result would sound clumsy and boring.
Voicing is something to take very seriously as an arranger. Sometimes the easiest inversion to play is not the best sounding inversion. Experiment with different voicings to see how they can open up or constrain the sound of a piece. Whatever chord inversions you choose, do so because you have decided upon producing a specific effect. Never use a voicing merely because it is convenient to play.
A good way to explore chord inversions is to examine Twinkle Twinkle Little Star in the exercises. Look for the inversions. There are lots of them.
