Contents
5. Variations in notation
As mentioned earlier, there are variations in the notation of inversions. Let’s now explain this.
Up to this point, we have explained the “/3” format as a “casual” one. However, if you’re wondering if there exists a “formal” one, in fact, there is still no clearly standardized format in current jazz and popular music theory (a surprising tragedy!). This is probably due to the fact that the importance of inversion in jazz is not high.
However, expanding the scope to classical harmony theory, there exists a traditional notation system with a history of several hundred years. Here it is:
This I guess is actually the internationally most widely used “standard language” in the classical music world, known as Figured Bass, mainly developed in Italy. Though made in Italy, this system is spread world-wide, and is probably prevalent in current U.S. as well.
The strange numbers like “6” or “64” represent the intervals from the bass to the upper notes.
The reason this notation is internationally prevalent is not because it is superior in terms of usability—Instead, it’s just because of its long old traditional history spanning several centuries in the classical music theory field.
While this notation indeed has some useful aspects, its compatibility with modern chord symbol systems is not favorable at all, and it’s unnecessarily complex just to indicate the type of inversions. So you’ll rarely encounter this notation in non-classical theory books. On this website too, it will be only used in the chapter VII, which deals with classical theory, and is avoided elsewhere.
In fact, the Figured Bass system was not primarily designed to represent inversions. Thinking of Figured Bass symbols as indicators of inversion can lead to problems later on.
The Casual Notation
Thus, to notate inversions more succinctly and clearly, this site has adopted the “casual” notation seen on the first page.
Today, this notation is used in several contents1. Though it has not become widely adopted yet, it is very clear in its meaning, highly compatible with modern chord symbol systems, and readable/writable in computer texts, so I adopted it on this site.
The terms “Bass” and “Root”
Lastly, let me explain the difference between two commonly confused words—”Root” and “Bass”.
If asked about the “root” of C/E, it is C, not E.
“Bass” simply refers to the lowest note, while “root” is a concept introduced to consolidate inversions under one chord, expressing the relationship that all of C/E, C/G and even C7/B♭ have their “roots” in C, literally! It would be ideal if you could maintain a conscious distinction between these two terms going forward.
Summary
- The notation for when the bass line plays a note other than the root of the chord is called “slash chord“.
- Forms where the bass handles the 3rd, 5th, or 7th of the chord are referred to as “inverted chords.”
- Using inversions allows you to control the stability of the chord and create a smoothly moving bassline.
