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The second inversion of a chord is the voicing of a triad, seventh chord, or ninth chord in which the fifth of the chord is the bass note. In this inversion, the bass note and the root of the chord are a fourth apart which traditionally qualifies as a dissonance. There is therefore a tendency for movement and resolution.
Most symbols generated by this template, including double flats and sharps, notes, rests and key signatures, use images, as corresponding Unicode characters either don't exist or are not supported by all browsers.
Sharp The sharp symbol raises the pitch of a note by one semitone. Natural A natural cancels a sharp or flat. This sharp or flat may have been indicated as an accidental or defined by the key signature. Double flat A double flat lowers the pitch of a note by two semitones. Double sharp A double sharp raises the pitch of a note by two semitones.
Lower-case letters may be placed after a chord symbol to indicate root position or inversion. [6] [page needed] Hence, in the key of C major, a C-major chord in first inversion may be notated as Ib, indicating chord I, first inversion. (Less commonly, the root of the chord is named, followed by a lower-case letter: Cb).
For instance, in the symbol Cm 7 (C minor seventh chord) C is the root and m is the chord quality. When the terms minor, major, augmented, diminished, or the corresponding symbols do not appear immediately after the root note, or at the beginning of the name or symbol, they should be considered interval qualities , rather than chord qualities.
When the type is not specified at all, the triad is assumed to be major, and the seventh is understood as a minor seventh (e.g. a "C" chord is a "C major triad", and a "C 7" chord is a "C major/minor seventh chord", also known as a "C dominant seventh chord"). For symbols used for seventh chords, see also Popular music symbols § Seventh chords.
F-sharp minor is sometimes used as the parallel minor of G-flat major, especially since G-flat major's real parallel minor, G-flat minor, would have nine flats including two double-flats. For example, in the middle section of his seventh Humoresque in G-flat major , Antonín Dvořák switches from G-flat major to F-sharp minor for the middle ...
Inverted seventh chords are similarly denoted by one or two Arabic numerals describing the most characteristic intervals, namely the interval of a second between the 7th and the root: V 7 is the dominant 7th (e.g. G–B–D–F); V 6 5 is its first inversion (B–D–F–G); V 4 3 its second inversion (D–F–G–B); and V 4