Just like in triads, seventh chord inversions are chords in which the root of the chord is not the lowest note. In a seventh chord, there are three possible inversions: the root position, the first inversion, and the second inversion.
In root position, the root of the chord is the lowest note and the other notes of the chord are stacked above it. For example, an E major seventh chord in root position would consist of a E in the bass and the notes G#, B, and D# stacked above it.
In first inversion, the third of the chord is the lowest note and the root is the second-lowest note. For example, aN E major seventh chord in first inversion would consist of an G# in the bass and the notes B, D#, and E stacked above it.
In second inversion, the fifth of the chord is the lowest note and the root is the second-lowest note. For example, an E major seventh chord in second inversion would consist of a B in the bass and the notes D#, E, and G# stacked above it.
See the pattern? In third inversion, we will have the D# on the bottom, and E, G#, and B above it.
In the key of E Major, here are the following seventh chords and their respective inversions in the closed position.
Seventh chord inversions are an important element of music theory and are used to create a variety of textures and voicings in music. They can be used to create smooth and logical voice leading between chords, as well as to create a sense of movement and variety in a chord progression. Sometimes, inverting a chord changes its function: for example, inverting a I7 chord to have the fifth at the bottom can make it almost like a dominant chord.
Using Figured Bass to Write Seventh Chords
When the seventh chords are written in an open position, such as in the SATB texture, a figured bass can be used to determine the bass note of a harmony.
As a reminder, figured bass, also known as thoroughbass, is a system of notation used in Baroque music (1600-1750) to indicate the chordal accompaniment of a piece of music. In figured bass, the bass line of a piece is written out in standard notation, and the chordal accompaniment is indicated using numbers written below the bass line. These numbers, known as figures, indicate the intervals above the bass note that should be played to create the chord.
In figured bass, we consider a “closed position seventh chord,” where the notes are in some cycle of 1-3-5-7 (for seventh chords). The notes are also as close together as possible. For seventh chords, there will be three Arabic numerals, or figures, for each chord. Given a closed position chord, the bottom one will give the interval from the bass note to the next lowest note in the chord, the middle number will give the interval from the bass note to the third note in the chord, and the top number will give the interval from the bass note to the highest note in the chord.
A root position seventh chord, therefore, will have the figures 7/5/3. To show this, consider a V7 chord in C Major. In root position, the order of the notes will be G-B-D-F. The interval from the G to the B is a 3rd, which is the bottom figure. The interval from the G to the D is a 5th, which is the middle figure. And, the interval from the G to the F is a 7th, which is the highest figure.
For a first inversion chord, we will have the closed position B-D-F-G, so following the same logic, the figures will be 3/5/6. For a second inversion chord, the closed position would be D-F-G-B, so the figures are 6/4/3. Finally, for a third inversion chord, the closed position would be F-G-B-D, so the figures would be 6/4/2.
Usually, however, we don’t write the figures like this – it is a lot of numbers, and it will make the score look really messy! Instead, we will just write root position chords with the superscript 7, first inversion chords with the figures 6/5, second inversion chords with the figures 4/3, and third inversion chords with the figures 4/2.
Figured bass is a neat way to differentiate between the inversions and also specify that a chord is a seventh chord. If you see a ii 6/5 chord, you automatically know that it is a minor ii chord, and that it is a seventh chord in third inversion!
Here is a summary of the figured bass Arabic numerals for seventh chords:
With a Roman-numeral analysis, you can see the following bass notes that indicate the types of seventh chords used. To understand the following image, can you spell a V7 chord in the key of Bb Major? F is the V of Bb. We spell an F7 chord F-A-C-Eb.
Here you can see that the V-6/5 chord has the 3rd in the bass, which in the F7 chord, is an A. The V-4/3 chord requires a C in the bass.
🦜 Polly wants a progress tracker: What would be the bass note of a V-4/2 chord in the key of d minor?
Identifying Seventh Chords by Ear
Identifying seventh chord inversions by ear can be a challenging task, as the intervals between the notes of an inverted chord may not be immediately apparent. However, with practice and a good ear for intervals, it is possible to develop the skills needed to identify seventh chord inversions.
One way to practice identifying seventh chord inversions is to start with root position chords and gradually work up to more complex inversions. Begin by listening to a root position seventh chord and trying to identify the individual intervals that make up the chord. Once you are comfortable with root position chords, move on to first inversion chords, paying attention to the interval between the bass note and the root of the chord. Finally, practice identifying second inversion chords, focusing on the interval between the bass note and the fifth of the chord.
As you practice identifying seventh chord inversions, it can also be helpful to use a keyboard or other musical instrument to help you hear the individual intervals more clearly. You can also try singing or playing the chords to help you hear the intervals more accurately.
Another strategy is to just listen for the bass line first, without asking yourself whether or not you are listening to a seventh chord or a triad. If you can get the baseline, you can then try to figure out whether it is a seventh chord or a triad, and try to figure out the quality of the chord. Because you already have the bass line, there will only be a few possibilities, and you can use your musical knowledge to also infer which chord makes most sense following the previous chord.
Remember: it’s okay to start small! If all you can do is figure out the difference between a triad and a seventh chord, start with that and get really used to it! Then, try to hear the difference between a root position seventh chord and an inverted seventh chord. Once you get really used to that, you can start trying to pick apart the different inversions. When I started studying, I only used to listen to I, IV, and V chords. Then, I added ii chords, and other common chords. I then stopped looking at the scale degrees and I just learned to differentiate triads and seventh chords. Next, the different inversions.
Overall, the key to identifying seventh chord inversions by ear is practice and a good ear for intervals. With time and dedication, you can develop the skills needed to identify even the most complex seventh chord inversions with ease. If you start small and put it all together later, you will eventually get really good at this!
Frequently Asked Questions
What's the difference between a seventh chord in root position and third inversion?
Root position vs. third inversion of a seventh chord is all about which chord tone’s in the bass. - Root position: the root of the seventh chord is in the bass (all chord tones stacked above it). Figured-bass label is usually just “7” (or no figures if context shows a seventh chord). Roman numeral: e.g., V7 (root in bass). - Third inversion: the chordal seventh is in the bass (so the bass is the seventh of the chord). Figured-bass sign is 4–2 (often written 4/2); Roman-numeral with inversion: V4/2 (or the appropriate numeral for that chord). On the AP exam you’re expected to identify these by Roman/Arabic numerals and figures (CED PIT-2.D.1). Practical note: in third inversion the seventh typically resolves down by step in 18th-century voice leading. For more examples and practice, see the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and try problems at Fiveable Practice (https://library.fiveable.me/practice/music-theory).
How do I figure out which inversion a seventh chord is in when I'm listening to music?
Listen for the bass note first—that tells you the inversion. Seventh-chord inversions (AP CED/PIT-2.D) put different chord tones in the bass: - Root position: bass = root (notated simply as 7 or just the Roman numeral with a “7”). - 1st inversion (6–5): bass = 3rd above the root. - 2nd inversion (4–3): bass = 5th above the root. - 3rd inversion (4–2): bass = the chordal 7th in the bass. A quick aural routine: identify the lowest pitch, then hear whether the tones above form a 3rd, 5th, or 7th relationship to the root (or count scale steps if in a key). On the AP exam this shows up in aural questions and harmonic dictation (Section I Part A and Section II harmonic dictation), so practice identifying bass lines in recordings. For focused practice and examples, check the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and try problems at Fiveable’s practice page (https://library.fiveable.me/practice/music-theory).
I don't understand how to write the Roman numeral analysis for seventh chords - can someone explain the numbers?
Think of seventh-chord Roman numerals as three pieces of info in one: (1) Roman numeral = scale degree of the chord’s root and its function (I, ii, V, etc.); (2) case and symbols = quality (upper-case = major, lower-case = minor; add ° for diminished, ø for half-diminished; you can also write M7, m7, m–M7, etc.); (3) Arabic/figured bass = which chord tone is in the bass (the inversion). Common seventh-chord figures you’ll see on the AP exam (CED PIT-2.D): - Root position: 7 (e.g., V7) - 1st inversion: 6–5 (V65)—third in bass - 2nd inversion: 4–3 (V43)—fifth in bass - 3rd inversion: 4–2 or just 2 (V42 or V2)—seventh in bass So if you see iiø7 in first inversion, write iiø65 (or iiø7/V?—context matters if it’s secondary). On the exam you’ll be asked to identify quality, root scale degree, and the bass/inversion (sometimes from a score or figured bass). For a clear walkthrough and practice, check the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld), the Unit 3 overview (https://library.fiveable.me/music-theory/unit-3), and 1000+ practice problems (https://library.fiveable.me/practice/music-theory).
What does it mean when the seventh is in the bass of a chord?
It means the chord is in third inversion: the chord’s seventh (the interval a seventh above the root) is sounding in the bass. On the AP exam you’d label that with the appropriate Roman numeral plus the inversion figure for a seventh in the bass (figured bass 4–2 or written as 4/2 in some sources)—e.g., V4–2 if it’s a dominant seventh with the 7th in the bass. Third-inversion sevenths must be complete (all four chord tones present) and the chordal seventh normally resolves down by step in voice-leading. Being able to recognize and notate this is exactly what PIT-2.D tests (identify seventh chords including the specific bass). For a quick refresher and practice problems, check the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and more unit review (https://library.fiveable.me/music-theory/unit-3).
How do I identify seventh chord inversions by ear during listening exercises?
Listen for the bass note first—the inversion is defined by which chord tone is in the bass. On a seventh chord the bass can be: - root position: root in bass (figure 7) - 1st inversion: third in bass (6–5 figure) - 2nd inversion: fifth in bass (4–3 figure) - 3rd inversion: seventh in bass (4–2 figure) Practical ear steps: hum or sing the lowest note, then find the interval from that bass to a strong upper tone (sing the bass then match a higher tone). If the bass sounds like the chord’s third, you’ve got a 6–5 inversion; if it sounds like the seventh (a dissonant, wanting-to-resolve tone), it’s a 4–2 (third inversion). Also use function clues: dominant sevenths (V7) have a characteristic leading-tone pull (leading tone up, seventh down) that helps identification in progressions. AP tip: Section I Part A aural and harmonic dictation practice will test this; practice identifying bass and figures in short excerpts. Use the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and more problems at (https://library.fiveable.me/practice/music-theory).
I'm confused about the figured bass numbers for seventh chords - why are they different from triads?
Figured bass numbers show the intervals above the bass, so seventh chords need different figures than triads because there’s an extra chord tone (the 7th) that must be counted. In root position a seventh chord is 7–5–3 (no shorthand), but when you invert it the intervals above the bass change: first inversion = 6–5–3 (usually written 6–5), second inversion = 6–4–3 (written 4–3), third inversion = 6–4–2 (written 4–2). Triads only produce 6 (first inversion) or 6–4 (second inversion) because they have only three chord tones (3–5–1 above the bass). So the extra “7” forces the paired figures (6–5, 4–3, 4–2) to show the correct intervallic relationships and voice-leading implications (e.g., resolution of the chordal seventh). This is exactly what the CED expects you to ID for seventh-chord inversions (PIT-2.D.1) and what you’ll use on part-writing/figured-bass FRQs. Review Topic 3.5 for more examples (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and practice with problems (https://library.fiveable.me/practice/music-theory).
What's third inversion and how is it different from the other inversions?
Third inversion of a seventh chord means the chordal seventh is in the bass—you’re hearing the seventh as the lowest note. In figured-bass terms it’s written 4–2 (or “4/2”); functionally it’s different from root position (root in bass), 1st inversion (6–5, third in bass), and 2nd inversion (4–3, fifth in bass). Important AP points: seventh chords in inversion must be complete (all four chord tones present) and the chordal seventh in 3rd inversion usually resolves downward by step (voice-leading expectation). The CED specifically lists the potential for a third inversion (PIT-2.D.1), so you should be able to ID it in Roman/Arabic numeral analysis and in figured bass. For quick review, see the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and practice lots of examples at the Unit 3 page (https://library.fiveable.me/music-theory/unit-3) or the practice bank (https://library.fiveable.me/practice/music-theory).
How do I know if I'm hearing a V7 chord or just a regular V chord in my analysis homework?
Listen or look for the seventh tone. A V (dominant triad) has three chord tones (root, 3rd, 5th). A V7 (dominant seventh) adds the chordal seventh (a minor 7 above the root). So in notation check: is there a fourth chord tone that’s the 7th? Figured-bass or Roman analysis will show a 7 (or 4–3/6–5/4–2 figures for inversions)—identify root, quality, and bass per PIT-2.D.1. Aurally, a V7 often sounds more tense and wants to resolve: the 7th usually resolves down by step (voice-leading tendency), and you’ll hear the extra dissonance that resolves to the tonic or tonic chord. If the bass is the 7th, it’s the third inversion (4–2 or 4–3 figure). Practice spotting these in both aural dictation and score analysis because the AP exam tests both (Section I aural; Free Response harmonic dictation). For a quick review, see the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and more Unit 3 resources (https://library.fiveable.me/music-theory/unit-3). For extra ear drills, try the practice set (https://library.fiveable.me/practice/music-theory).
I don't get why seventh chords have more inversions than regular triads - help?
Think of a chord as a stack of notes. A triad has three chord tones (root, third, fifth), so there are three possible bass notes → three positions: root position, 1st inv. (3rd in bass), 2nd inv. (5th in bass). A seventh chord has four chord tones (root, 3rd, 5th, 7th), so there are four possible bass notes—therefore four positions, including the 3rd inversion where the chordal seventh is in the bass (CED PIT-2.D.1). Figured-bass labels show those inversions: 6–5 for 1st inv., 4–3 for 2nd inv., and 4–2 for 3rd inv. In Roman/Arabic analysis you’ll see the Roman numeral for the root plus an Arabic bass numeral or figured-bass to indicate which chord tone is in the bass (what AP asks you to ID in PIT-2.D). If you want practice identifying and writing these, check the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and the Unit 3 page (https://library.fiveable.me/music-theory/unit-3). For more drills, use the practice problem set (https://library.fiveable.me/practice/music-theory).
What are the figured bass symbols I need to memorize for all the seventh chord inversions?
Memorize these four figured-bass patterns for all seventh-chord positions (what the AP expects for PIT-2.D): - Root position: 7 (or no figures sometimes; you’ll see “7” to show the chordal seventh above the bass). - 1st inversion (third in bass): 6–5 (written 6/5). - 2nd inversion (fifth in bass): 4–3 (written 4/3). - 3rd inversion (seventh in bass): 4–2 (written 4/2). On the exam you’ll need to recognize and realize these in figured-bass part-writing (Free-response Q5) and in Roman-numeral analysis (PIT-2.D). For quick review and examples, see the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld). For broader unit review and lots of practice problems, check Unit 3 (https://library.fiveable.me/music-theory/unit-3) and the practice bank (https://library.fiveable.me/practice/music-theory).
How do I write Roman numerals for seventh chords that aren't just dominant sevenths?
Write the Roman numeral for any seventh chord the same way you do for triads, but include (1) the scale degree/root as a Roman numeral, (2) the chord quality (use m, M or maj, ø, o, or m–M as needed), and (3) a figured-bass or Arabic-bass inversion label to show the bass note. Remember the AP requirement: the numeral must show root degree, quality, and bass/inversion. Quick rules and examples in C major: - Root position: Roman + “7” (or quality)—e.g., ii half-diminished seventh = iiø7 (D–F–A–C). - 1st inversion (seventh in bass): use 6–5 (or 6/5) → iiø6/5. - 2nd inversion: use 4–3 → iiø4/3. - 3rd inversion (seventh in bass): use 4–2 (or 4/2) → iiø4/2. - Major seventh: Imaj7 or IΔ7 (I–E–G–B); minor-major: i–M7 or i(M7) etc. On the exam you can use either figured bass (6–5, 4–3, 4–2) or Arabic bass numerals to show the inversion—just be clear. For more examples and practice, check the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and try extra problems at (https://library.fiveable.me/practice/music-theory).
I'm working on my harmonic analysis project and keep missing seventh chord inversions - any tips?
Quick checklist to stop missing seventh-chord inversions: - Find the bass note first. If the bass is the seventh of the chord, it’s 3rd inversion (CED: PIT-2.D.1). - Stack chord tones in thirds (count up from bass) to confirm all four chord members present—seventh chords in inversions must be complete in AP part-writing. - Translate between figures and inversion names: 6–5 = 1st inversion of a seventh, 4–3 = 2nd inversion, 4–2 = 3rd inversion. If you see those figures or hear the seventh in bass, label with Roman numeral + Arabic bass (e.g., V4/2 or V4–2). - Use quality clues: identify whether it’s dominant7, m7, M7, ø7, or °7 before naming inversion. - Practice: isolate basslines, sing the root above the bass, then check figures. AP exam tasks (both aural and notated, plus FRQ part-writing) expect you to ID root, quality, and bass (see PIT-2.D). For focused practice and examples, review the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld), the Unit 3 overview (https://library.fiveable.me/music-theory/unit-3), and try lots of problems (https://library.fiveable.me/practice/music-theory).
What's the easiest way to recognize when the chordal seventh is in the bass?
Quick trick: invert the chord in your head so the bass is the top of a stacked-third chord. If the bass is the chordal seventh (i.e., everything else stacks up a third above it so the root is above the bass), you’ve got a third inversion seventh. Figured-bass clue: you’ll see the 4–2 (or sometimes written 4 2) pattern for a seventh with the seventh in the bass. On the exam you should label it with the correct Roman numeral plus the inversion (e.g., V4/2 or viiº4/2) or use Arabic bass numerals. Practice by scanning bass notes first and mentally stacking thirds above them—if the bass sounds/looks like a dissonant seventh tone that resolves down by step, think third inversion. For more practice and examples see the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and Unit 3 review (https://library.fiveable.me/music-theory/unit-3).
How do I practice identifying different qualities of seventh chords in all their inversions?
Focus on fast, repeated practice in three small steps: recognize, label, and hear. 1) Recognize (visual): write or flashcard every seventh chord type (dominant 7, major7, m–M, half-dim ø7, fully dim °7) in root position and all inversions. For each inversion practice the figured-bass labels: root position (7), 1st inv = 6/5, 2nd = 4/3, 3rd = 4/2. Make sure you can give Roman numeral + Arabic bass (e.g., V6/5, viiø6/5) so you meet PIT-2.D. 2) Label (analytical): take short excerpts and notate the chord’s root, quality, inversion, and bass number. Time yourself—30–60 seconds per chord. 3) Hear (aural): sing the bass then the root, or play bass note then chord on keyboard to train the sound of each inversion (especially 3rd inversion with the seventh in bass). Do mixed drills in both performed and notated contexts—the AP expects both (PIT-2.D for performed and notated music). Use the Topic 3.5 study guide for examples (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld) and hit 1000+ practice items at Fiveable (https://library.fiveable.me/practice/music-theory).
I don't understand how to connect seventh chord analysis to what I'm actually hearing in the music examples
Start by listening for the bass—AP aural items and harmonic dictation expect you to identify the bass note first (that tells you the inversion: root position, 6–5 (1st inv.), 4–3 (2nd inv.), 4–2 (3rd inv.) when the seventh is in the bass). Then hear the chord quality: does it sound like a dominant seventh (major triad + minor 7th), major seventh, half-diminished, or fully diminished? Hum or sing the lowest note and then the upper chord tones to find the root (root may not be in the bass). Check voice-leading clues: a chordal seventh often resolves down by step. On the exam you’ll need to convert what you hear into Roman numerals with Arabic bass figures (CED PIT-2.D). Practice by isolating bass lines from recordings, labeling inversion + quality, then check with notated examples. For guided practice and drills, use the Topic 3.5 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chord-inversions-figures/study-guide/lNdabGWeBDl9DMDQelld), the Unit 3 overview (https://library.fiveable.me/music-theory/unit-3), and the 1000+ practice problems (https://library.fiveable.me/practice/music-theory).