Okay, let's get back to talking about inversions. So what inversions are is it's a way to make something its way to make a core progression sound a lot more musical. And what I mean by that is if we just play these chords, as is in a different order, it sounds very blocky, right? Like we play a chord and Lou playing on record and we play another court. It doesn't flow like music flows. It's not until we start to incorporate inversions that it starts to flow a little bit better. And when I hear tracks by people, um, especially people doing like dance music with, like, heavy synth line and stuff like that I hear block chords all the time, and I think this could sound so much better if they understood how inversions work. It would just make your track go Ah, from like a C minus track to like an A plus track just by incorporating inversions. It's really simple. It's a simple idea, but it's something that you need to know about, and I'm doing it. I'm trying to do a favour to electronic musi...
c world by like telling you about this about how inversions work. Um, so let's let's start by. Let's just build a core progression here, Okay? So let's take my my one chord. Leave out my two chord will use three. We'll get rid of the four chord and will use five and six. So we'll get rid of those. Let's rearrange is a little bit. Okay, let's take our six or put it right there. And then maybe our fly aboard and put it right there just because remember Like I said, we don't like core progressions. Typically, that it just kind of go in order. We like it to move around a bit. So let's now take this and I'm gonna just arrange these Teoh, get a little more time each. It was gonna stretch him out. Uh uh. Okay, now we have a core progression. Let's call this our core progression of ourselves. Let's hear. Okay. Now, what we're hearing is that thing that I call that really blocky sound, right? Ah, and it's because everything all the cords were hearing are in route position. So what route position means is that the root of the cord is at the bottom? Um, all of these we know This is a C major chord sees at the bottoms a mine record, A's at the bottom e minor chord. He's at the bottom. Ah, what we want to do here is find the path of least resistance is the way I like to think about it. So, for example, let's between these two chords our first and second court. Here we have a big leap. So let's make that leap not so big by just using octaves. So let's take this high note and shifted down an octave. Now this isn't an an inversion, right, because the route is not at the bottom. There's fancy terms for this, but for what kind of inversion. But I don't really care about that right now. What I care about is that this is inverted now because the root of the cord is not at the bottom. This is instill in Accord. This is still an a minor chord, but we have e at the bottom. But you see what that did is it made this e flow nicely between all three chords and that's going to sound better. I can actually make this even better. Watch this. Let's take the sea down inactive would look that way. See that the difference between these two chords is actually only one note, and that's going to make this just flow so much better. Let's see what we can do with this third court. Let's take this. Be down in a okay. Now this see, just moves down 1/2 step. The E stays the same g goes back to where it waas, right? It was back to a GI. That's nice. So very minimal motion between here right now, remember, I'm not changing any notes. I still have the exact same courts. The only thing I've changed is the organization of the notes. I haven't added or taken away any notes. I've just moved him around a little bit. Let's try taking this d down. Okay, that's pretty nice. I think I could get this be down also. Look at that. So now he's still require any motion. Nor do these. So let's hear what that sounds like now. Okay, Okay. So now the whole thing is more flowing. It's less blocky. Um, if I wanted to make it even more flowing, let's do this. Let's change our piano. Let's go out of a piano and let's put some kind of synthesizer on it. Um doo doo doo doo doo doo doo doo doo. Let's just dio some kind of pad. Now that's the greatest thing. Let's try that. Okay, so let's listen to what this sounds like on this path. Ah, that's a fairly nice core progression. Now let me play it for you without the inversions way are back in route position. So this is what it sounds like in route position on inverted. It's so much smoother that way and so much more held together and elegant that way than the big block way of root position. Now, keep in mind that, uh, I still have one chord, this one in route position. This is still a new position, so there's nothing wrong with root position. It's the jumping around that makes the kind of not elegant, clunky sound. So what I did is I just took this one and then I just rearrange the actives of all the other chords, tow line up to fit really nicely into that first court. And that's what inversions are. It's just jumping around the octaves of the notes. We're not changing. Any notes were just reordering the notes so that they flow nicely between each other. That is inversions