Chord Inversions Are Taught Wrong (Here's How to Actually Use Them)
Jazz Lab Music
19,165 views
Most musicians learn chord inversions as a math problem — stack the notes a different way, memorize the shapes, move on. That’s exactly why they never quite sound right.
Juilliard faculty pianist Henrique Eisenmann and jazz trombonist Tim Lienhard take apart how inversions actually work — not as isolated shapes, but through counterpoint and their relationship to the melody — then reharmonize “You Are My Sunshine” live so you can hear the difference between a tune harmonized poorly and one harmonized properly.
We'll create the spacing chords need with voicings (and great tactic for non-pianists play beautiful voicings), explore the emotional character of each inversion and how to identify them by feel. Most importantly, we'll cover the counterpoint rule that's rarely taught alongside inversions, and how the melody itself is the best clue on which inversions to use.
Want the deeper dive? Our Composition 101 course is up now: https://jazzlabmusic.gumroad.com/l/bqpoj
Special thanks to our channel members! If you'd like to support the work we do, click here - @jazzlabmusic.
@ClaudiaGomezMusic
@julieseeger273
@cesarpineda1456
Want more from Jazz Lab? Join our newsletter for access to dozens of free e-books: https://jazzlabmusic.kit.com/cd326a85a0
0:00 Introduction: Inversions Are Often Poorly Taught
0:59 Root Position - Home and Security
1:18 First Inversion - Sweet, Tender, Wants to Move
2:09 Second Inversion - Epic, Heroic, Penultimate Sound
2:53 How to Identify Inversions & Bass Note Relationships
3:51 Counterpoint and Melody-Bass Relationship
4:18 Avoid Doubling Thirds - Poor Counterpoint Explained
5:55 Doubling Roots and Fifths When It's Okay
6:13 Applying Inversions to You Are My Sunshine
8:12 Finishing a Piece With Inversions
8:31 Summary of Inversion Principles
9:01 Next Steps: Adding Sixths, Ninths to Open Chords
10:05 Composition 101
#jazztheory #musictheory #piano
20 Comments
Chord Inversions Are Taught Wrong (Here's How to Actually Use Them)
Jazz Lab Music
19,165 views
Most musicians learn chord inversions as a math problem — stack the notes a different way, memorize the shapes, move on. That’s exactly why they never quite sound right.
Juilliard faculty pianist Henrique Eisenmann and jazz trombonist Tim Lienhard take apart how inversions actually work — not as isolated shapes, but through counterpoint and their relationship to the melody — then reharmonize “You Are My Sunshine” live so you can hear the difference between a tune harmonized poorly and one harmonized properly.
We'll create the spacing chords need with voicings (and great tactic for non-pianists play beautiful voicings), explore the emotional character of each inversion and how to identify them by feel. Most importantly, we'll cover the counterpoint rule that's rarely taught alongside inversions, and how the melody itself is the best clue on which inversions to use.
Want the deeper dive? Our Composition 101 course is up now: https://jazzlabmusic.gumroad.com/l/bqpoj
Special thanks to our channel members! If you'd like to support the work we do, click here - @jazzlabmusic.
@ClaudiaGomezMusic
@julieseeger273
@cesarpineda1456
Want more from Jazz Lab? Join our newsletter for access to dozens of free e-books: https://jazzlabmusic.kit.com/cd326a85a0
0:00 Introduction: Inversions Are Often Poorly Taught
0:59 Root Position - Home and Security
1:18 First Inversion - Sweet, Tender, Wants to Move
2:09 Second Inversion - Epic, Heroic, Penultimate Sound
2:53 How to Identify Inversions & Bass Note Relationships
3:51 Counterpoint and Melody-Bass Relationship
4:18 Avoid Doubling Thirds - Poor Counterpoint Explained
5:55 Doubling Roots and Fifths When It's Okay
6:13 Applying Inversions to You Are My Sunshine
8:12 Finishing a Piece With Inversions
8:31 Summary of Inversion Principles
9:01 Next Steps: Adding Sixths, Ninths to Open Chords
10:05 Composition 101
#jazztheory #musictheory #piano
I'm teaching myself keyboard & music theory, and discovered inversions without knowing what they were. As alternate voicing for the same chords, I experiment with changes that required the least movement of my hand, and inversions naturally fit right into this practice. Thanks for explaining the different moods of each!
You guys rock!