ANNOTATING HARMONY FOR INVERTED CHORDS

In the previous chapter, the annotation for inversions of the triad and seventh chords that is based on the figured bass was explained. This annotation must be used to annotate harmony for inverted triad and seventh chords. The following figures show how to annotate triad and seventh chords in their inversions. The chords in the figures are in the close position but the annotation would be the same if they are not. 

We know that whether the Roman numeral is in the uppercase or lowercase depends on the quality (major or minor) of the third between the chord root and chord third. Do not forget that the chord root and chord third are defined using the root close position of the chord. Thus, the chord C/E in the next figure has the chord root C and the chord third E (not E and G). We can imagine its root close position and see this easily.  

Figure: Annotating harmony for triad chords in the first inversion 

Figure: Annotating harmony for triad chords in the second inversion 

Figure: Annotating harmony for seventh chords in the first inversion 

Figure: Annotating harmony for seventh chords in the second inversion