could anyone help me with the theory part of the first inversion of primary chords. it really is freaking me out. and i cant figure out what to do with my homework!

Are there any tips or tricks to successfully answer all of them correctly?

Inverting chords, simply put, means having a different note at the bottom.

The chord always has the same 3 notes.. so Cmajor is C E and G.
The first inversion is when you have the E at the bottom E G C.. (think of taking the C and moving it to the top).

Thank you but i also need more help when you are doing cadences with the 1st inversion stuff. the chord progressions like I to IV to V that sort of thing !

What sort of problems, thebestpiano? A perfect cadence will still be V-I (G major then C major, to use sbhoa's C major example) regardless of the inversion of the chords. The more information you can give us about your problems, the easier it'll be for us to help you.

oh um. for example

the bass notes are [ beginning of one bar] c, b(supposed to use first inversion here), c [beginning of 2nd bar] g

key is c major. you are asked to add 2 notes on the treble stave.

these kind of questions. ]


Thanks!

Ok - I presume you mean 2 notes per chord (i.e. per bass note given). Add these on the treble stave, then look at how the first inversion works - chord #2 in your sequence. The G given below is the one that the treble clef middle bit curls round:

G . G . C . B
E . D . E . D

(Hoping that the spacing works!) The sequence gives Ia Vb Ia Va in C major. You could do other things with the sequence but this is a start.

Ah that was nice (: Thank you.

But like, how do you know when to use I, IV and V?

Thank you. But it comes with experience/practice. That's why it's good to start with chords I, IV and V,

because you will soon recognise when to use them. I'll talk about major keys here. Things get trickier in minor keys.

At this point it's best just to compare the melody or bass notes given with the notes in the I, IV, V triads, and choose the triads that give the most pleasing sequence. You can harmonise masses of music with just I, IV and V - a bit 'spartan' with just those but it's a start.

Later on you add chord ii to your selection, then chord vi. (These are written in 'lower case' to show they are 'minor triads' (just convention), namely the third from the root is a minor third. Whereas I IV and V are MAJOR in MAJOR KEYS, the third being a major third from the root).

If you need an example of a minor triad, here's ii in C major. You should be able to hear that it has a "minor" quality.

A
F
D

Can I suggest you avoid iii and vii until you have the others sorted out? These need special treatment (although there's nothing to stop you using them if you want - if you're harmonising a pop tune for example). Also there is the matter of "passing notes" that you'll come across later on.

Hope that helps.