I'm interested in how you'all utilize chord inversions.
I like to use them when doing background accompaniment. Repeating the chord progression over and over using the same root chords get old, quickly. In order to create some interest, in said repetition, I move up or down, inversion wise, returning to the root chords in the middle (or so) of the tune and then close with them. It certainly makes it more fun to play.
Another use I make of inversions is to un-complicate the fingering demands. Properly selected inversions eliminate large hand movements by moving the "long reach" chord closer, or adjacent too, the other chords. It is often possible, using inversions, to structure the chord progressions whereby one finger is always duplicated in the next chord played. This allows that one finger to remain stationary and properly orient the other fingers to the next chord.
Inversions also create a sort of "arpeggio scale". By following a chord's inversions up or downscale, a "goof proof" (however somewhat limited) scale presents itself for single note, double note and triplet play, within the chord demands.
Inversions, while running up and down the octaves, utilize the same bass rotations required for just the root chords.
I have developed several songs, composed solely of inversions, for the purpose of exercising my inversion patterning. They have proved to be fun tunes that I can vary in rhythm, speed and inversion order. Besides being fun, I have learned a great deal about my accordion (keyboard and bellows control) and what sounds good to the ear. I have also discovered some surprising relationships between Keys.
Lastly, CBA responders; How many rows do you utilize when playing? I use all 5 rows, all the time. If you're a 3 (or even 4) row player, are inversions as useful to you? Do you even use them?
Press on,
Waldo
I like to use them when doing background accompaniment. Repeating the chord progression over and over using the same root chords get old, quickly. In order to create some interest, in said repetition, I move up or down, inversion wise, returning to the root chords in the middle (or so) of the tune and then close with them. It certainly makes it more fun to play.
Another use I make of inversions is to un-complicate the fingering demands. Properly selected inversions eliminate large hand movements by moving the "long reach" chord closer, or adjacent too, the other chords. It is often possible, using inversions, to structure the chord progressions whereby one finger is always duplicated in the next chord played. This allows that one finger to remain stationary and properly orient the other fingers to the next chord.
Inversions also create a sort of "arpeggio scale". By following a chord's inversions up or downscale, a "goof proof" (however somewhat limited) scale presents itself for single note, double note and triplet play, within the chord demands.
Inversions, while running up and down the octaves, utilize the same bass rotations required for just the root chords.
I have developed several songs, composed solely of inversions, for the purpose of exercising my inversion patterning. They have proved to be fun tunes that I can vary in rhythm, speed and inversion order. Besides being fun, I have learned a great deal about my accordion (keyboard and bellows control) and what sounds good to the ear. I have also discovered some surprising relationships between Keys.
Lastly, CBA responders; How many rows do you utilize when playing? I use all 5 rows, all the time. If you're a 3 (or even 4) row player, are inversions as useful to you? Do you even use them?
Press on,
Waldo