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|C Major Chord#Harmonic Theory: Tonality and the I Chord|Theory}}
Usually, the root note of the chord is also the lowest-pitched note, or bass note. This gives a strong harmonic foundation where the intervals created by the other notes can be clearly heard and felt. However, the third or fifth can also be the bass note. This is called an ''<u>inversion''</u>. Inversions are numbered by the bass note's relation to the root note in the chord.
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Whoa! That's a huge difference in the total amount of pitch movement, and all that movement is a distraction to the harmonic change. Voice leading has many more rules, which we will cover later on.
Another reason to use inversions is if you want your bass line to consistently ascend or descend or have a melody you want it to follow. If you stick to making the bass note the root note of the chord, many chord progressions will not allow the bass line to do so. Or you may be trying to play a melody as well as accompanying chords, placing the melody line as the highest voice. This limits your chord shape choices; and in some cases, one of the notes would have to be omitted unless using an inversion and placing it lower than the root note.
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So first inversion is written 6/3 and 2nd inversion 6/4.
Note: when we cover using chords with 4 or more notes, the total number of numbers here intervals in the chord will expand for those additional intervals. I find that more confusing than the more common "/bass note" notation.
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