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    Comping Voices

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    pikbeb65
    The document shows chord voicings for major 7th, dominant 7th, and minor 7th chords in root position and three inversions. It displays the notes for each voicing and labels the inversions based on the top note, not the lowest pitch. Inversions are useful for comping chords to harmonize a melody where the melody note is not the top or bottom note of the chord.

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    Comping Voices

    Uploaded by

    pikbeb65
    34 views1 page
    The document shows chord voicings for major 7th, dominant 7th, and minor 7th chords in root position and three inversions. It displays the notes for each voicing and labels the inversions based on the top note, not the lowest pitch. Inversions are useful for comping chords to harmonize a melody where the melody note is not the top or bottom note of the chord.

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    © © All Rights Reserved

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    The document shows chord voicings for major 7th, dominant 7th, and minor 7th chords in root position and three inversions. It displays the notes for each voicing and labels the inversions based on the top note, not the lowest pitch. Inversions are useful for comping chords to harmonize a melody where the melody note is not the top or bottom note of the chord.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    34 views1 page

    Comping Voices

    Uploaded by

    pikbeb65
    The document shows chord voicings for major 7th, dominant 7th, and minor 7th chords in root position and three inversions. It displays the notes for each voicing and labels the inversions based on the top note, not the lowest pitch. Inversions are useful for comping chords to harmonize a melody where the melody note is not the top or bottom note of the chord.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    Comping Chord Voicings

    Root
    Pos.

    1 1 1 1

    1st
    Inv.

    2nd
    Inv.
    IX

    1
    3 3 3

    3rd
    Inv.

    1
    XII

    2 3

    1 1 1

    Root VII
    Pos.
    chord root
    (not played)
    IX
    1st
    Inv.
    XII

    1 1

    chord root
    (not played)

    2nd VII
    Inv.

    1
    2 3
    4

    IX

    3rd
    Inv.

    2
    3

    3 3 3

    2 3
    4

    1st
    Inv.
    3rd
    Inv.

    chord root
    (not played)

    2
    3 3 3

    2 3

    VII

    Root
    Pos.

    2nd
    Inv.

    Major 7th Chord


    Inversions
    (I7) (FMa7)

    Dominant 7th Chord


    Inversions
    (V7) (C7)

    Minor 7th Chord


    Inversions
    (ii7) (Gm7)

    XII

    1 1 1
    3

    4
    The inversion labels for these chords are obtained by reading from the note on the top string, not the lowest pitch. Although this isn't the usual
    way reckon inversions, it is more useful for comping chords, since you will often want to harmonize a melody with the melody not on top, not
    the bottom. Circles around a number indicate the root of the chord. The second inversion of the FMa7 has no root, it is actually an FMa9 chord.

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