Inversions again...

[TheSlug]

The brief interlude that the OP refers to in the Sheeran tune is a short G D/F# Emi D C D progression. The OP has it listed as a half step higher, but it's a very standard progression

I've just listened to this version. Maybe there is an original that is a half step lower

 

[mambo4]

In my experience, just throwing a third in place of a root
gets a "that sounds wrong" response from band mates.

the lesson:
when it comes to what "sounds right"
context is more important than theory

 

[Coughdrops]

I love three pages of discussion over a simple inversion. The best answer is that context matters. In the scenarios given where it functions as a passing tone.. F-C/E-D-C etc, it typically sounds great because you get the stepwise motion of the bass line. The ear loves that sort of linear motion, particularly with a chord diatonic to the key.

In other cases it can be trickier. If you just start a standard type pop tune with an inversion it might sound unsettled. The ear likes to hear home base, particularly at strong sections of the tune like the beginning or at the resolution of an 8/16 bar phrase. If you play the root in those spots the first time through a form you give the ear a chance to establish the tonic key very clearly. You might then throw the inversion in on like a last chorus or later on in the song because the harmony has been established and you are then subtly playing with expectations.

Regarding the first inversion of a 7 chord... You like it more because very often that 3rd in the bass of that chord is functioning as a leading tone to the following chord in a dominant type movement. F7 very often is leading to some sort of Bb and an A in the bass very strongly wants to resolve up to the Bb.

Some of this might be unfamiliarity with the sound of an inversion. I would also strongly agree with the recommendation of a good study of harmony, particularly functional harmony, as that is the foundation of nearly all popular music at this point.

 

[MalcolmAmos]

,,,,,,,The ear likes to hear home base, particularly at strong sections of the tune like the beginning or at the resolution of an 8/16 bar phrase. If you play the root in those spots the first time through a form you give the ear a chance to establish the tonic key very clearly. You might then throw the inversion in on like a last chorus or later on in the song because the harmony has been established and you are then subtly playing with expectations.

Inversions work great for the keyboardist or pianist as there is little movement necessary to make them. Remembering my days with the piano, inversions were taught as an easy way to make the next chords. For what it is worth I never get off into inversions with my guitar or bass as I feel my job is to call attention to the root, lock with the beat and fall into a groove the entire band can follow. That in itself is enough for my skill level and I'll leave the inversions to the solo instruments.

Once again that and $1.58 will get you a cup of coffee in East Texas.

 

[redstrand]

If it was that simple...

It can be, you could always lead the inversions and have the guitarist fill in the blanks

 

[SteveCS]

Inversions work great for the keyboardist or pianist as there is little movement necessary to make them. Remembering my days with the piano, inversions were taught as an easy way to make the next chords. For what it is worth I never get off into inversions with my guitar or bass as I feel my job is to call attention to the root, lock with the beat and fall into a groove the entire band can follow. That in itself is enough for my skill level and I'll leave the inversions to the solo instruments.

Once again that and $1.58 will get you a cup of coffee in East Texas.

Except that if, as the bass player, you have the root and it is the lowest pitch of all voices then the resultant chord is in Root Position, irrespective of the arrangement of notes above you. 999/1000 times the responsibility for making the inversion falls to the bass player.

In the world of R-5 lines, if that 5th is still the lowest note (play it a 4th below to make sure) then you have moved the overall chord into second inversion, even if only for a beat.

 

[MalcolmAmos]

Yes, I could, but, you missed my point. I elect to not use inversions.

I liked Caughdrops post which said in effect less is more. There is a place, but, less is more.

In the music I play, and with the guys I play with, they will not be expecting the 2nd inversion. I can visualize the rhythm guitar shoulder's cringing right now.

 

[SteveCS]

Yes, I could, but, you missed my point. I elect to not use inversions.

I liked Caughdrops post which said in effect less is more. There is a place, but, less is more.

It not a question of could - every time you play the 5th in the bass then the overall harmony is in 2nd inversion whilst that 5th is sounding...
But my poing was that, unless you move off the root in the bass, any voicing played on the keyboard at a higher register is still in root position. What is the point of the keyboard player choosing 1st or 2nd inversion if the bass player, by sticking to the root, keeps everything in root position. The job of bass player, regardless of genre, is to support the harmony - if the chord is V going to Ic, then the job is to keep the root of V going as 5th of I.
IMO, electing to keep the root in the bass when a particular inversion is called for actually undermines the entire harmonic structure of the music...
YMMV.

 

[inanimate_carb]

Yes, I could, but, you missed my point. I elect to not use inversions.

I liked Caughdrops post which said in effect less is more. There is a place, but, less is more.

In the music I play, and with the guys I play with, they will not be expecting the 2nd inversion. I can visualize the rhythm guitar shoulder's cringing right now.

I hear people doing this occasionally and it sounds hokey.

Compositionally, inversions are not a trick, a flaw, or a fancy contrivance. They're also not a bass player thing, as many on this site think - they're what the songwriter intended. Refusal to use them isn't a sign that you know more than the original composer. Sorry.

If you don't know how to handle simple first inversions to accommodate descending bass parts, further study is certainly required, because tens of thousands of high school kids in churches certainly can. There's no debate about this, but you guys go right on ahead thinking you have this all figured out.

Pro tip :stop using tabs off the internet.