Seventh Chord Inversion Flashcards: Root, Bass & Figures

Question 1

When you rearrange a complete seventh chord into root-order thirds, which note must you save first to identify its inversion?

Accepted Answer

The original bass: the lowest sounding note.

Use the rearranged thirds to find the root, then match that saved bass to the root, third, fifth, or seventh. The root-order scratch stack does not replace the original voicing.

Question 2

With C4 as middle C, which is lower: B3 or C4?

Accepted Answer

B3.

The octave number changes at C. B3 sits one semitone below C4; an accidental changes the pitch without changing the note’s written octave number.

Question 3

What interval changes when a major seventh chord becomes a dominant seventh chord while its root, third, and fifth stay fixed?

Accepted Answer

The seventh above the root changes from major to minor.

The root-relative distances are 4, 7, 11 semitones for major seventh and 4, 7, 10 for dominant seventh. Both retain a major triad. Dominant seventh is also called major-minor seventh.

Question 4

Which root-relative interval distinguishes half-diminished seventh from fully diminished seventh when their root, third, and fifth are unchanged?

Accepted Answer

The seventh: minor for half-diminished, diminished for fully diminished.

Both have a minor third and diminished fifth. Their third–fifth–seventh distances from the root are 3–6–10 versus 3–6–9 semitones. Keep the seventh’s letter spelling.

Question 5

For a complete seventh chord, match bass member 1, 3, 5, and 7 to position and usual inversion figures.

Accepted Answer

The slashes put stacked figures on one line. They are not division signs.

Question 6

Can the equal-tempered sound of a fully diminished seventh chord, without note spelling or musical context, establish a unique written root?

Accepted Answer

No.

Its pitches divide the octave into equal minor thirds. Enharmonic respelling can produce a different written root. In this deck, use the supplied letters and accidentals; do not rename them just because another spelling sounds the same.

Question 7

Seventh-chord analysis: F2–A3–C4–E4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

F major seventh; root position; 7.

Root order: F–A–C–E. Bass: F2, the root. From F, the third, fifth, and seventh are a major third, perfect fifth, and major seventh (4, 7, 11 semitones).

Question 8

Seventh-chord analysis: G2–B3–D4–E4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

E minor seventh; first inversion; 6/5.

Root order: E–G–B–D. Bass: G2, the third. From E, the third, fifth, and seventh are a minor third, perfect fifth, and minor seventh (3, 7, 10 semitones).

Question 9

Seventh-chord analysis: F2–A3–B3–D4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

B half-diminished seventh; second inversion; 4/3.

Root order: B–D–F–A. Bass: F2, the fifth. From B, the third, fifth, and seventh are a minor third, diminished fifth, and minor seventh (3, 6, 10 semitones).

Question 10

Seventh-chord analysis: F2–G3–B3–D4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

G dominant seventh; third inversion; 4/2 (also 2).

Root order: G–B–D–F. Bass: F2, the seventh. From G, the third, fifth, and seventh are a major third, perfect fifth, and minor seventh (4, 7, 10 semitones).

Question 11

Build G major seventh in first inversion, with B2 strictly lowest.

Give one lowest-to-highest voicing with all four members, each once. C4 = middle C.

Accepted Answer

One answer: B2–D3–F#3–G3.

Root order: G–B–D–F#. B2 is the third, giving 6/5. From G: major third, perfect fifth, major seventh (4, 7, 11 semitones). Other upper arrangements are valid if they use the same four spelled members exactly once and keep every upper note above B2.

Question 12

Does the bare inversion shorthand 6/5, without a named chord, written notes, or key context, tell you the seventh chord’s quality?

Accepted Answer

No.

It indicates first inversion in this seventh-chord convention. The figures describe interval numbers above the bass, not semitone distances or a complete accidental spelling. They do not choose major, dominant, minor, half-diminished, or fully diminished quality.

Question 13

Seventh-chord analysis: C#3–E3–G#3–A4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

A major seventh; first inversion; 6/5.

Root order: A–C#–E–G#. Bass: C#3, the third. From A, the third, fifth, and seventh are a major third, perfect fifth, and major seventh (4, 7, 11 semitones).

Question 14

Seventh-chord analysis: D3–F3–A♭3–C♭4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

D fully diminished seventh; root position; 7.

Root order: D–F–A♭–C♭. Bass: D3, the root. From D, the third, fifth, and seventh are a minor third, diminished fifth, and diminished seventh (3, 6, 9 semitones).

Question 15

Build F dominant seventh in third inversion, with E♭3 strictly lowest.

Give one lowest-to-highest voicing with all four members, each once. C4 = middle C.

Accepted Answer

One answer: E♭3–F3–A3–C4.

Root order: F–A–C–E♭. E♭3 is the seventh, giving 4/2 (also 2). From F: major third, perfect fifth, minor seventh (4, 7, 10 semitones). Other upper arrangements are valid if they use the same four spelled members exactly once and keep every upper note above E♭3.

Question 16

Compare G dominant seventh voicings, lowest first:

A: F2–G3–B3–D4
B: F2–D3–G4–B4

Did the inversion change, or only the upper voicing?

Accepted Answer

Only the upper voicing changed. Both are third inversion, 4/2 (also 2).

Both contain G–B–D–F, and F2 remains the seventh in the bass. Moving upper notes changes their order and spacing without changing the bass member.

Question 17

Seventh-chord analysis: G2–B♭3–C4–E♭4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

C minor seventh; second inversion; 4/3.

Root order: C–E♭–G–B♭. Bass: G2, the fifth. From C, the third, fifth, and seventh are a minor third, perfect fifth, and minor seventh (3, 7, 10 semitones).

Question 18

Seventh-chord analysis: D3–E3–G3–B♭3 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

E half-diminished seventh; third inversion; 4/2 (also 2).

Root order: E–G–B♭–D. Bass: D3, the seventh. From E, the third, fifth, and seventh are a minor third, diminished fifth, and minor seventh (3, 6, 10 semitones).

Question 19

Build A minor seventh in root position, with A2 strictly lowest.

Give one lowest-to-highest voicing with all four members, each once. C4 = middle C.

Accepted Answer

One answer: A2–C3–E3–G3.

Root order: A–C–E–G. A2 is the root, giving 7. From A: minor third, perfect fifth, minor seventh (3, 7, 10 semitones). Other upper arrangements are valid if they use the same four spelled members exactly once and keep every upper note above A2.

Question 20

An intended E fully diminished seventh is written E–G–B♭–C#. Repair only the last note’s spelling, keeping its equal-tempered pitch.

Accepted Answer

D♭.

E to D is a seventh by letter count; E to C is a sixth. D♭ is 9 semitones above E after octave reduction, so it is a diminished seventh. C# has the same equal-tempered pitch but gives a major-sixth spelling.

Question 21

Seventh-chord analysis: A♭2–C4–E♭4–G4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

A♭ major seventh; root position; 7.

Root order: A♭–C–E♭–G. Bass: A♭2, the root. From A♭, the third, fifth, and seventh are a major third, perfect fifth, and major seventh (4, 7, 11 semitones).

Question 22

Seventh-chord analysis: E3–G3–A3–C#4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

A dominant seventh; second inversion; 4/3.

Root order: A–C#–E–G. Bass: E3, the fifth. From A, the third, fifth, and seventh are a major third, perfect fifth, and minor seventh (4, 7, 10 semitones).

Question 23

Build A half-diminished seventh in second inversion, with E♭3 strictly lowest.

Give one lowest-to-highest voicing with all four members, each once. C4 = middle C.

Accepted Answer

One answer: E♭3–G3–A3–C4.

Root order: A–C–E♭–G. E♭3 is the fifth, giving 4/3. From A: minor third, diminished fifth, minor seventh (3, 6, 10 semitones). Other upper arrangements are valid if they use the same four spelled members exactly once and keep every upper note above E♭3.

Question 24

Compare these lowest-to-highest voicings:

A: E3–G3–B♭3–D4
B: E3–G3–B♭3–D♭4

Which changed: quality, inversion, or both?

Accepted Answer

Quality changed; inversion did not.

A is E half-diminished seventh; B is E fully diminished seventh. D is a minor seventh above E (10 semitones); D♭ is a diminished seventh (9). E3 remains the root in the bass, so both are root position, 7.

Question 25

Seventh-chord analysis: B2–D3–F3–G#3 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

G# fully diminished seventh; first inversion; 6/5.

Root order: G#–B–D–F. Bass: B2, the third. From G#, the third, fifth, and seventh are a minor third, diminished fifth, and diminished seventh (3, 6, 9 semitones).

Question 26

Seventh-chord analysis: A2–B3–D4–F#4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

B minor seventh; third inversion; 4/2 (also 2).

Root order: B–D–F#–A. Bass: A2, the seventh. From B, the third, fifth, and seventh are a minor third, perfect fifth, and minor seventh (3, 7, 10 semitones).

Question 27

Build D♭ major seventh in third inversion, with C3 strictly lowest.

Give one lowest-to-highest voicing with all four members, each once. C4 = middle C.

Accepted Answer

One answer: C3–D♭3–F3–A♭3.

Root order: D♭–F–A♭–C. C3 is the seventh, giving 4/2 (also 2). From D♭: major third, perfect fifth, major seventh (4, 7, 11 semitones). Other upper arrangements are valid if they use the same four spelled members exactly once and keep every upper note above C3.

Question 28

Start with A minor seventh: A2–C3–E3–G3, lowest first. Move only A2 up to A3, then sort the pitches again. What is the new inversion?

Accepted Answer

First inversion, 6/5.

The new order is C3–E3–G3–A3. C3 is now lowest and is the third of A–C–E–G. The chord remains A minor seventh; moving the root out of the bass changes its inversion.

Question 29

Seventh-chord analysis: F2–A3–B♭3–D4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

B♭ major seventh; second inversion; 4/3.

Root order: B♭–D–F–A. Bass: F2, the fifth. From B♭, the third, fifth, and seventh are a major third, perfect fifth, and major seventh (4, 7, 11 semitones).

Question 30

Seventh-chord analysis: G#2–B3–D4–E4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

E dominant seventh; first inversion; 6/5.

Root order: E–G#–B–D. Bass: G#2, the third. From E, the third, fifth, and seventh are a major third, perfect fifth, and minor seventh (4, 7, 10 semitones).

Question 31

Build E fully diminished seventh in root position, with E3 strictly lowest.

Give one lowest-to-highest voicing with all four members, each once. C4 = middle C.

Accepted Answer

One answer: E3–G3–B♭3–D♭4.

Root order: E–G–B♭–D♭. E3 is the root, giving 7. From E: minor third, diminished fifth, diminished seventh (3, 6, 9 semitones). Other upper arrangements are valid if they use the same four spelled members exactly once and keep every upper note above E3.

Question 32

A B half-diminished seventh is F2–A3–B3–D4, lowest first. Add F4 while leaving every existing note in place. Does the inversion change?

Accepted Answer

No: it stays second inversion, 4/3.

F2 is still the lowest pitch and the fifth of B–D–F–A. F4 doubles that member; it adds no new distinct chord member. This card identifies the result, without prescribing a style-specific doubling.

Question 33

Seventh-chord analysis: D2–F3–A♭3–C4 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

D half-diminished seventh; root position; 7.

Root order: D–F–A♭–C. Bass: D2, the root. From D, the third, fifth, and seventh are a minor third, diminished fifth, and minor seventh (3, 6, 10 semitones).

Question 34

Seventh-chord analysis: B♭2–C#3–E3–G3 (lowest → highest; C4 = middle C).

Give the root and quality, bass member, inversion, and usual figures.

Accepted Answer

C# fully diminished seventh; third inversion; 4/2 (also 2).

Root order: C#–E–G–B♭. Bass: B♭2, the seventh. From C#, the third, fifth, and seventh are a minor third, diminished fifth, and diminished seventh (3, 6, 9 semitones).

Question 35

Build B dominant seventh in first inversion, with D#3 strictly lowest.

Give one lowest-to-highest voicing with all four members, each once. C4 = middle C.

Accepted Answer

One answer: D#3–F#3–A3–B3.

Root order: B–D#–F#–A. D#3 is the third, giving 6/5. From B: major third, perfect fifth, minor seventh (4, 7, 10 semitones). Other upper arrangements are valid if they use the same four spelled members exactly once and keep every upper note above D#3.

Question 36

Compare the written analyses of these lowest-to-highest voicings:

A: B2–D3–F3–G#3
B: B2–D3–F3–A♭3

In equal temperament they sound alike. Does the supplied spelling give the same root and inversion?

Accepted Answer

No. A is G# fully diminished seventh in first inversion; B is B fully diminished seventh in root position.

A spells G#–B–D–F, with B as its third. B spells B–D–F–A♭, with B as its root. Each has root-relative distances 3, 6, 9 semitones; the respelling changes the written analysis, not these sounding pitches.

Question 37

Build C minor seventh in second inversion, with G3 strictly lowest.

Give one lowest-to-highest voicing with all four members, each once. C4 = middle C.

Accepted Answer

One answer: G3–B♭3–C4–E♭4.

Root order: C–E♭–G–B♭. G3 is the fifth, giving 4/3. From C: minor third, perfect fifth, minor seventh (3, 7, 10 semitones). Other upper arrangements are valid if they use the same four spelled members exactly once and keep every upper note above G3.

Question 38

Repair only the root field in this analysis:

E3–F3–A3–C4 (lowest first; C4 = middle C).
“Root: E; quality: major seventh; bass: E3; inversion: third.”

Keep the stated quality, bass, and inversion.

Accepted Answer

Root: F.

The root-order spelling is F–A–C–E: major third, perfect fifth, major seventh above F (4, 7, 11 semitones). E3 is its seventh in the bass, so third inversion remains correct.

Question 39

Repair only the inversion figures:

B dominant seventh: D#3–B3–F#4–A4, lowest first. A student writes “first inversion, 4/3.”

Keep the chord, pitches, and first-inversion label.

Accepted Answer

Use 6/5.

B–D#–F#–A is B dominant seventh. D#3 is its third and remains lowest, so first inversion is correct. The shorthand 4/3 would require the fifth, F#, in the bass.

Question 40

Repair only the inversion label:

C# fully diminished seventh: B♭2–C#3–E3–G3, lowest first. A student calls it first inversion because C# comes immediately above the bass.

Keep the chord spelling and pitches.

Accepted Answer

Third inversion, 4/2 (also 2).

The spelling is C#–E–G–B♭. B♭2 is the seventh and the actual bass. C#3 is the root, but its place among the upper notes does not determine inversion.

Bass member	Position	Figures
Root (1)	Root position	7
Third (3)	First inversion	6/5
Fifth (5)	Second inversion	4/3
Seventh (7)	Third inversion	4/2, also 2

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Seventh Chord Inversion Flashcards: Root, Bass & Figures

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