We're going to move it all the way up here.
Then finally, the second inversion we'd normally play like this. Now we're taking the G and we're putting it up on the top voicing. Now, first inversion, we would normally play this right E, G, C. We took the E here, and we moved it all the way up here. So what's happening in each case is we're taking the middle note of the chord and we're moving it up to the top of the voicing. So root position, then I could do first inversion, second inversion. So what if I wanted to do a second inversion I could do something like that. You can do that of course, with any inversion. Taking the middle note of the chord and moving it up to the top of the voicing and this gives you a little bit bigger of a sound. So for example, if we have a C triad, we could play something like this. But we can also do what's called open position where we spread out the notes a little bit more. You can play them in what we call closed position, which is what we've been doing, where we don't leave any space in between any of the notes. There are two ways that you can play triads and their inversions. Well, we can also talk about triads and positioning for the triads.
So what's next, you might ask, what else could we possibly know about a triad? So, so far we've learned what a major triad is and we've also learned the inversions of a major triad. I'm here with you today to further discuss major triads. Well, hello everyone, it's Ryan Cullen director here at the Louisiana Academy of Performing Arts.
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