Chord Inversions

Introduction

• Presenter: Troy
• Topic: Chord inversions and their application in worship music
• Significance: Transitioned from blues to worship, simplifying and fast-tracking learning
• Approach: Practical, user-friendly, not heavily theory-oriented
• Supplementary material: E-book available at guitarforhisglory.com/shop with diagrams and explanations

Movable Chord Inversions

Inversion #1

• Most used in worship music
• Based on G barre chord shape
• Method: Move up two frets from the G barre chord shape, build the inversion
  • Shares two notes from the original shape
  • Adds the fifth (ring finger) and root (pinky)
• Practical play: Triad or dyad instead of full chords, use muting techniques
  • Middle finger mutes E, A, and D strings
  • Pinky mutes high E string
• Example: To find C inversion, move up two frets from the C barre chord

Inversion #2

• Based on A-shaped barre chord
• Method: Move up two frets from A-shaped barre chord, build the inversion
  • Shares two notes
  • Adds fifth with pinky and root with another pinky placement
• Practical play: Typically as dyad or triad for clarity
• Example: To find F inversion, move up two frets from the F barre chord

Inversion #3

• Emphasizes the third
• Similar to Inversion #2, but third heavy
• Method: Use root and third only, minimal strings played
  • Thumb and index finger handle muting
  • Use pinky or third finger for flexibility
• Example: To find G inversion, move up two frets from the G barre chord, play root and third

Inversion #4

• Variant of Inversion #2, includes root note for a bigger sound
• Method: Play root and third with all other strings muted
• Example: To find D inversion, move up two frets from the D barre chord, play root and third

Inversion #5

• Similar to Inversion #3 but includes root, fifth, and third
• Method: Mute unnecessary strings, open G can be allowed to ring out
  • Adds size and clarity to the chord
• Example: To find G inversion, move up two frets from the G barre chord, play root, fifth, third

Inversion #6

• Based on open C chord shape
• Method: Move hand position so that index finger is behind the nut
  • Pinky bass note routing
  • Triad play is preferred for clarity
• Example: For G to D, move pinky to the desired bass note position

Inversion #7

• Advanced version of Inversion #1
• Method: Replace ring and pinky fingers with index and middle fingers and add pinky on the 5th
  • Provides clearer sound, useful for swells and rhythm
• Example: For C, adjust fingers accordingly

Minor Inversions

• Major and minor chords have substantial note overlap

Inversions #8 & #9

• Based on minor chord shapes

Inversion #8

• Based on A minor shape
• Method: Play root, third, and fifth
  • Adjust fretting depending on band bass note
• Example: C with band playing A in bass makes chord minor

Inversion #9

• Minor 7th, applicable over minor chords
• Method: Start with Inversion #1, adjust for minor chord with appropriate bass note
• Example: For E minor, find G major, move up and adjust bass note

Conclusion

• Goal: Simplify the learning process, transitioning from theory to practical application
• Encouragement to focus on contributing positively to worship services
• Presenter contact: Available for questions and clarifications