Playing arpeggios in different inversions.

Discussion in 'General Instruction [BG]' started by Not Mark Westlake, Jan 8, 2005.


  1. Hi there,
    I was hoping one of you good people could help me - for some music theory work, I have to make a recording of me playing various chord arpeggios in different inversions. For example, GMaj7.

    When I play the example, is it the 'done thing' to play the second octave?

    e.g. (sorry for tab, just easier...)

    - - - - - - - - -
    - - - - - - - 4 -
    - - - 2 - 5 - - -
    - 3 - - - - - - -

    That covers the G (I), the B (III), the D (V), and the F# (VII), so if I'm playing that example, should I put the additional G on the D-string to complete the top of the voicing? This is bearing in mind that afterwards I have to play all the inversions.

    To continue, am I right to play the inversions like the following?

    - - - - - - -
    - - - - 4 - 5
    2 - 5 - - - -
    - - - - - - -
    First inversion GMaj7 arp.

    - - - - - - 4
    - - 4 - 5 - -
    5 - - - - - -
    - - - - - - -
    Second inversion " " " " " " " ".

    - - - - 4 - 7
    4 - 5 - - - -
    - - - - - - -
    - - - - - - -
    Third inversion " " " " " " " ".

    So would that be correct? For the recording, I'm going up and then down, but it's a hell of a lot easier transcribing like that :)

    So yeah, am I correct in playing it as I've written there?

    Thanks for any help,

    Mark.
     
  2. Eli M.

    Eli M. Life's like a movie, write your own ending

    Jul 24, 2004
    New York, NY
    For the arpeggio in root position, I wouln't play the top G, just play G-B-D-F#. This is because, when you're inverting the chord, you're basically taking the bottom note and bringing it an octave up. So the top G in root position would be redundant.

    You other inversions are correct.