Lesson 46 of 72 · The same notes in a different order, to move without jumping
Take C – E – G and move the C up an octave: E – G – C. These are still the notes of C major, so it’s still the C major chord, but inverted. Do it again with the E: G – C – E.
C major in its three positions
Tip: Find the 4th, the widest gap (two white keys skipped): at the top in 1st inversion, at the bottom in 2nd inversion. That’s where your hand opens up, hence the fingerings 1-2-5 and 1-3-5. In the left hand: 5-3-1 for 1st inversion, 5-2-1 for 2nd inversion.
Play the chord in the position asked for, in any octave.
Play C, F and G in root position one after another: your hand jumps at every chord. With inversions, it can almost stay put.
Look at C – F/C – G/B – C: C stays under your thumb for C and F; for G, your thumb moves down just a half step, onto B. The other fingers move by one or two keys.
Each note moves as little as possible.
Why this way: This is voice leading, a golden rule of harmony: each note of the chord is like a voice in a choir, and each voice moves as little as possible. Bach followed it in his chorales; pop pianists do exactly the same.
Right hand around middle C. Keep your thumb on C, and let it slide down to B for the G chord.
The same progression on the left, pinky always on the bottom note. Watch the fingering: 5-2-1 for C – F – A, 5-3-1 for B – D – G.
A little original chorale: your right hand moves through the inversions, while the computer’s bass plays the roots. Inversions in the right hand, the bass from the computer: your hand stays around middle C from start to finish.
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