Seventh Chord Inversion Flashcards: Root, Bass & Figures
40 written music-theory cards: identify seventh chords and inversions, build voicings over a required bass, and repair errors in root, spelling, or figures.
Despre acest pachet
The lowest note can change an inversion even when the chord keeps the same name. These 40 cards practise that written check with complete seventh chords, including major, dominant (major-minor), minor, half-diminished, and fully diminished qualities.
Read the pitch lists from lowest to highest. C4 means middle C, and octave numbers change at C. Every accidental is written; no key signature is implied. The cards use note letters, # for sharp, and ♭ for flat. Knowing letter thirds and basic interval names will help; this is a focused practice set rather than a complete chord-spelling course.
Six anchor cards establish bass tracking, octave registers, quality contrasts, inversion figures, and the role of spelling. The remaining sequence mixes 16 complete analyses, 8 construction tasks, and 10 comparisons or error repairs. Analyses ask for root and quality, the actual bass member, inversion, and usual figures, with a root-order spelling and interval check on the back. Construction runs the other way: a named chord and required bass lead to one valid registered voicing. Upper arrangements are nonunique; alternatives count if they keep the required bass strictly lowest and include the same four spelled members exactly once. Comparison and repair cards check spacing, doubling, changed bass, enharmonic spelling, and specific incorrect labels. Related examples are separated rather than placed as immediate reverse pairs; the app handles later review spacing.
The figures 7, 6/5, 4/3, and 4/2 describe the conventional seventh-chord positions; 2 is also accepted for third inversion. Bare figures do not independently name the quality or supply every accidental. Fully diminished analyses follow the supplied spelling, rather than claiming a unique root from sound alone. Every analysis and construction example contains all four correctly spelled chord members; repair prompts explicitly flag incorrect fields. One comparison adds a doubling.
The deck excludes audio, staff-reading images, instrument fingering, voice leading, omitted-member analysis, nonchord tones, functional Roman numerals, extended or altered chords, and exam questions. It does not test hearing or playing inversions. There are no automatic reverse copies or exhaustive transposition grids: reverse construction is included where choosing a valid bass-led arrangement adds a useful retrieval task.
Questions, worked voicings, explanations, sequence, and metadata were independently authored with AI assistance. Common theory facts were checked against Robert Hutchinson’s seventh-chord introduction, inversion-symbol guide, and octave-register convention. Source prose, figures, exercises, and other decks were not copied or adapted. The decorative cover is AI-generated and is not instructional notation. CC0 applies to the original wording, organization, metadata, and generated cover to the extent applicable rights exist; it does not claim rights over music facts or the linked sources. No human musician or classroom review is claimed.
Independent, unofficial material, with no affiliation, approval, or endorsement by the University of Puget Sound or the linked authors and publishers.
Fișele din acest pachet
Fișa 1
Întrebare
When you rearrange a complete seventh chord into root-order thirds, which note must you save first to identify its inversion?
Răspuns
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.
Fișa 2
Întrebare
With C4 as middle C, which is lower: B3 or C4?
Răspuns
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.
Fișa 3
Întrebare
What interval changes when a major seventh chord becomes a dominant seventh chord while its root, third, and fifth stay fixed?
Răspuns
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.
Fișa 4
Întrebare
Which root-relative interval distinguishes half-diminished seventh from fully diminished seventh when their root, third, and fifth are unchanged?
Răspuns
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.
Fișa 5
Întrebare
For a complete seventh chord, match bass member 1, 3, 5, and 7 to position and usual inversion figures.
Răspuns
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 The slashes put stacked figures on one line. They are not division signs.
Fișa 6
Întrebare
Can the equal-tempered sound of a fully diminished seventh chord, without note spelling or musical context, establish a unique written root?
Răspuns
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.
Fișa 7
Întrebare
Seventh-chord analysis: F2–A3–C4–E4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 8
Întrebare
Seventh-chord analysis: G2–B3–D4–E4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 9
Întrebare
Seventh-chord analysis: F2–A3–B3–D4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 10
Întrebare
Seventh-chord analysis: F2–G3–B3–D4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 11
Întrebare
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.
Răspuns
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.
Fișa 12
Întrebare
Does the bare inversion shorthand 6/5, without a named chord, written notes, or key context, tell you the seventh chord’s quality?
Răspuns
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.
Fișa 13
Întrebare
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.
Răspuns
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).
Fișa 14
Întrebare
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.
Răspuns
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).
Fișa 15
Întrebare
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.
Răspuns
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.
Fișa 16
Întrebare
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?
Răspuns
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.
Fișa 17
Întrebare
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.
Răspuns
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).
Fișa 18
Întrebare
Seventh-chord analysis: D3–E3–G3–B♭3 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 19
Întrebare
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.
Răspuns
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.
Fișa 20
Întrebare
An intended E fully diminished seventh is written E–G–B♭–C#. Repair only the last note’s spelling, keeping its equal-tempered pitch.
Răspuns
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.
Fișa 21
Întrebare
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.
Răspuns
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).
Fișa 22
Întrebare
Seventh-chord analysis: E3–G3–A3–C#4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 23
Întrebare
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.
Răspuns
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.
Fișa 24
Întrebare
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?
Răspuns
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.
Fișa 25
Întrebare
Seventh-chord analysis: B2–D3–F3–G#3 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 26
Întrebare
Seventh-chord analysis: A2–B3–D4–F#4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 27
Întrebare
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.
Răspuns
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.
Fișa 28
Întrebare
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?
Răspuns
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.
Fișa 29
Întrebare
Seventh-chord analysis: F2–A3–B♭3–D4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 30
Întrebare
Seventh-chord analysis: G#2–B3–D4–E4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 31
Întrebare
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.
Răspuns
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.
Fișa 32
Întrebare
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?
Răspuns
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.
Fișa 33
Întrebare
Seventh-chord analysis: D2–F3–A♭3–C4 (lowest → highest; C4 = middle C).
Give the root and quality, bass member, inversion, and usual figures.
Răspuns
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).
Fișa 34
Întrebare
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.
Răspuns
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).
Fișa 35
Întrebare
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.
Răspuns
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.
Fișa 36
Întrebare
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?
Răspuns
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.
Fișa 37
Întrebare
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.
Răspuns
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.
Fișa 38
Întrebare
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.
Răspuns
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.
Fișa 39
Întrebare
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.
Răspuns
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.
Fișa 40
Întrebare
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.
Răspuns
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.
40 de fișe
Seventh Chord Inversion Flashcards: Root, Bass & Figures
Nibomo se deschide ca să poți începe să studiezi.