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To invert or not to invert, that is the question. (Chords)


RABid

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I happened upon an infomercial last night, or maybe a better term would be misinfomercial. Ralph Paul Guitar Made Easy. Some joker selling a DVD package that will teach you to play guitar in 5 minutes. One of his methods is to ignore normal chord fingerings on guitar and learn a basic bar chord, then move up and down the neck, changing frets instead of changing fingering to play different chords. This made me think of a guitarist that I used to play with that could not stand it if I played an inversion. If I moved from a I to a IV he always wanted me to retain the 1-3-5 structure. Many times I play a IV as 5-1-3 with the thumb staying on the root of the key. I tend to play a lot of inversions. For me it is interesting. For him it was unacceptable. Ironic since guitar chords have so many inversions.

 

Anyway, seeing the infomercial got me thinking about it again. Do other keyboardists play a lot of inversions or do you tend to stick with straight chords and more movement up and down the keyboard?

 

This post edited for speling.

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I would think that in the middle registers voice leading would be the priority and inversions would be used as needed to promote that (e.g alternating inversions).

 

In contrast, playing LH voicings lower down would require the root to be at the bottom.

 

At least that's what's common in jazz.

 

 

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This made me think of a guitarist that I used to play with that could not stand it if I played an inversion. If I moved from a I to a IV he always wanted me to retain the 1-3-5 structure.

Well, there's plenty of things guitarists play that I can't stand, either.

 

But seriously, I play inversions all the time, usually whatever is the easiest to move to. Moving up and down the keyboard to retain the 1-3-5 structure would be asinine.

 

Stuff and things.
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... This made me think of a guitarist that I used to play with that could not stand it if I played an inversion. If I moved from a I to a IV he always wanted me to retain the 1-3-5 structure ...

That's just silly. I can't think of a single iconic keyboard part that all close root position triads.

 

Don't let him find out that Crayola makes a 120-pack now. He's not ready.

 

Larry.

 

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Don't let him find out that Crayola makes a 120-pack now.

 

Wait...they make what?

 

Back on topic, the only obvious reason I can think of to rigidly maintain a single structure (be it 1-3-5 or an inversion) from chord to chord is as an intentional "device", such as when you run an arpeggiator or sequencer to provide a background ostinato or similar.

..
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This made me think of a guitarist that I used to play with that could not stand it if I played an inversion. If I moved from a I to a IV he always wanted me to retain the 1-3-5 structure.

Well, there's plenty of things guitarists play that I can't stand, either.

 

But seriously, I play inversions all the time, usually whatever is the easiest to move to. Moving up and down the keyboard to retain the 1-3-5 structure would be asinine.

unless your playing Louie Louie.

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This made me think of a guitarist that I used to play with that could not stand it if I played an inversion. If I moved from a I to a IV he always wanted me to retain the 1-3-5 structure.

Well, there's plenty of things guitarists play that I can't stand, either.

 

But seriously, I play inversions all the time, usually whatever is the easiest to move to. Moving up and down the keyboard to retain the 1-3-5 structure would be asinine.

unless your playing Louie Louie.

 

Actually, Louie Louie uses 2nd inversion for 2 of the 3 chords. ;)

Moe

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Lean on me is close to all roots isn't it?

 

For me being self taught I still remember discovering inversions on my own and my whole world opened up!

It is now a hall mark of my teaching. Learning a song with the right hand doing melody and chords, changing the inversion so the top note of the chord is the melody note, left hand playing bass, or I V VII patterns. So flexible!

I just taught a 9 year old boy to play Amazing Grace this way, and an 81 year old gentleman Morning has broken based on Wakeman's solo piano version (plus the full Cat Stevens version intro).

For both it was a revelation when I almost literally saw the light bulb go on.

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Actually "Lean on Me" sounds like the kind of thing that a guitarist would play on piano if he was just fooling around with one. I don't know the story of how the song was actually written and I certainly mean no disrespect to Bill Withers. I've been a fan since I first saw him in the early 70's. I do suspect, though, that he might have been near a piano when that tune was born.
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Actually "Lean on Me" sounds like the kind of thing that a guitarist would play on piano if he was just fooling around with one.

 

That's exactly what I think whenever I hear that song. When I first tried to play it a long time ago, I was like, "Who the f*** plays piano like this?"

Stuff and things.
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Actually "Lean on Me" sounds like the kind of thing that a guitarist would play on piano if he was just fooling around with one.

 

That's exactly what I think whenever I hear that song. When I first tried to play it a long time ago, I was like, "Who the f*** plays piano like this?"

 

The Rhodes line is tasty though.

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RABid - I can't believe this is even a discussion! No inversions? Really?? That guitar player was obviously aurally and musically challenged. Thankfully, most of us are not.
Instrumentation is meaningless - a song either stands on its own merit, or it requires bells and whistles to cover its lack of adequacy, much less quality. - kanker
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no inversions, what are you, a Communist?

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I think Lean on Me is all first inversion. I hear the voice leading with the root on top, following the melody.

 

Friggin' guitar players. If he specifically wants those certain top notes in the voicing, I suppose theoretically it's a valid request, but mt first inclination is that it's a matter of ignorance.

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prety much all written music has inversions all over it.

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As to Lean On Me being all first inversion, well yes and no. RH, first inversion sure enough but with the bass line (another guitarist on piano special) it sounds like each chord is voiced 1-3-5 -1 as an octave of the bass note. The tip off is that it is played like the piano equivalent of a barre chord so major and minor thirds don't matter. Guitar player on piano for sure.
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