• In the previous lessons, we learned how to construct, identify, and analyze first inversion triads. One question still remains: when exactly do we use them?
• One use of first inversion is to smooth out the bass line.
• Look at the example. Notice how the bass line changes direction during the second V chord.
• By placing this chord in first inversion, the bass line becomes smoother.
• We can also use first inversion when repeating a chord.
• In this example, the first two chords are duplicates. A composer may feel that this passage needs more movement.
• Instead of altering the top voices, the chord is placed in first inversion.
• The diminished triad presents the final use for first inversion.
• Early composers did not like using augmented or diminished intervals.
• Notice that a root position diminished triad contains a diminished fifth.
• The second inversion of the same triad contains an augmented fourth.
• Only the first inversion contains no augmented nor diminished intervals.
• Because of this, composers prefer first inversion diminished triads.
• While root position diminished triads are used occasionally, second inversion is rarely encountered.
• It should be noted that the examples presented in this lesson are not strict rules. Sometimes, first inversion is used simply because a composer likes its sound.