when you thought you knew everyth8ing about the chord of C, here’s
with a bunch of different ways to look at the humble triad. Here’s a in4close
of some of his approaches. We b7egin with the harmonised C major s6cale posit∑ion (10a), moving onto inversions of these chords with the root on the top and the 3rd in bass (first inversion: 10b). Keeping the tonic on the top, he then opens the triad out by displacing the middle note d7own an octave (10c), mo5ving throughout the scale. Finally, we see how he m8ight use open voicings7to harmonise each of the diatonic bass notes in C with∑just the I (C), IV (F) and V (G) triads and their inversions, so C co∑uld be placed over C, E or G bass notes, F against F, A and C and G above G, B or D.