What are chord inversions on guitar?
An inversion keeps the notes of a chord and changes the note in the bass. In root position the root is the lowest note; in 1st inversion the 3rd is in the bass, in 2nd inversion the 5th. The E chord, E G# B, becomes E/G# and E/B: the note after the slash is the bass.
On this page the bass always sits on one of the three bass strings, the 6th, 5th or 4th, with the other notes on the middle and high strings above it. The harmony stays the same: an inversion only changes the colour of the chord and the line the bass draws from chord to chord.
Phrygian dominant chords in 1st inversion
In 1st inversion the 3rd of each chord is in the bass: E/G#, F/A, G#dim/B, Am/C, Bdim/D, C+/E and Dm/F in E. The diagrams show them in the lowest part of the neck, where E/G# puts the G# on the 6th string at fret 4 with the 5th string muted.
Phrygian dominant chords in 2nd inversion
In 2nd inversion the 5th is in the bass: E/B, F/C, G#dim/D, Am/E, Bdim/F, C+/G# and Dm/A. With the 5th underneath, the chord sounds less settled than in root position and leans toward the next one, the way the open A string under Dm pushes the music on.
The augmented chord C+ in every inversion
C+, C E G#, is built of two major thirds, so each inversion is again an augmented chord: C+/E holds the notes of E+, and C+/G# those of G#+. On one group of strings the same shape moved up four frets gives the next inversion.
How to use inversions in Phrygian dominant progressions
Inversions let the bass move by step instead of jumping. In E the bII to I cadence played as F/A to E/G# moves the bass a half step down, A to G#, and E/G# to Am moves it a half step up, G# to A.
Play the iv bII I cadence as Am, F/A, E/G#: the bass holds A under the first two chords, then falls to G# while the harmony changes above it. Dm/F to E works the same way on the 6th string: the bass falls from F at fret 1 to the open E, the half step of the Phrygian cadence.
Keep root position chords for the strong beats and inversions for the chords in between. The root position shapes of all seven chords, in every key, are on Phrygian dominant chords on guitar, and the cadences to practise them on are on Phrygian dominant chord progressions.
Phrygian dominant chord inversions in every key
The table names the seven triads of every key in 1st and 2nd inversion, and each key links to its chord diagrams near the end of the page.
| Key | 1st inversion | 2nd inversion |
|---|---|---|
| C | C/E Db/F Edim/G Fm/Ab Gdim/Bb Ab+/C Bbm/Db | C/G Db/Ab Edim/Bb Fm/C Gdim/Db Ab+/E Bbm/F |
| C# | C#/E# D/F# E#dim/G# F#m/A G#dim/B A+/C# Bm/D | C#/G# D/A E#dim/B F#m/C# G#dim/D A+/E# Bm/F# |
| D | D/F# Eb/G F#dim/A Gm/Bb Adim/C Bb+/D Cm/Eb | D/A Eb/Bb F#dim/C Gm/D Adim/Eb Bb+/F# Cm/G |
| Eb | Eb/G Fb/Ab Gdim/Bb Abm/Cb Bbdim/Db Cb+/Eb Dbm/Fb | Eb/Bb Fb/Cb Gdim/Db Abm/Eb Bbdim/Fb Cb+/G Dbm/Ab |
| E | E/G# F/A G#dim/B Am/C Bdim/D C+/E Dm/F | E/B F/C G#dim/D Am/E Bdim/F C+/G# Dm/A |
| F | F/A Gb/Bb Adim/C Bbm/Db Cdim/Eb Db+/F Ebm/Gb | F/C Gb/Db Adim/Eb Bbm/F Cdim/Gb Db+/A Ebm/Bb |
| F# | F#/A# G/B A#dim/C# Bm/D C#dim/E D+/F# Em/G | F#/C# G/D A#dim/E Bm/F# C#dim/G D+/A# Em/B |
| G | G/B Ab/C Bdim/D Cm/Eb Ddim/F Eb+/G Fm/Ab | G/D Ab/Eb Bdim/F Cm/G Ddim/Ab Eb+/B Fm/C |
| G# | G#/B# A/C# B#dim/D# C#m/E D#dim/F# E+/G# F#m/A | G#/D# A/E B#dim/F# C#m/G# D#dim/A E+/B# F#m/C# |
| A | A/C# Bb/D C#dim/E Dm/F Edim/G F+/A Gm/Bb | A/E Bb/F C#dim/G Dm/A Edim/Bb F+/C# Gm/D |
| Bb | Bb/D Cb/Eb Ddim/F Ebm/Gb Fdim/Ab Gb+/Bb Abm/Cb | Bb/F Cb/Gb Ddim/Ab Ebm/Bb Fdim/Cb Gb+/D Abm/Eb |
| B | B/D# C/E D#dim/F# Em/G F#dim/A G+/B Am/C | B/F# C/G D#dim/A Em/B F#dim/C G+/D# Am/E |
Phrygian dominant chord inversions in all 12 keys
For every key: the seven triads in 1st and 2nd inversion, with their chord diagrams in the same part of the neck as the chords page.
C Phrygian dominant chord inversions
In C Phrygian dominant the home chord C becomes C/E in 1st inversion and C/G in 2nd inversion. The seven triads in 1st inversion are C/E, Db/F, Edim/G, Fm/Ab, Gdim/Bb, Ab+/C, Bbm/Db; in 2nd inversion C/G, Db/Ab, Edim/Bb, Fm/C, Gdim/Db, Ab+/E, Bbm/F.
C scaleC open positionC positionsC fretboardC one stringC double stopsC chordsC inversionsC drop 2C arpeggiosC progressionsC backing track
C# Phrygian dominant chord inversions
In C# Phrygian dominant the home chord C# becomes C#/E# in 1st inversion and C#/G# in 2nd inversion. The seven triads in 1st inversion are C#/E#, D/F#, E#dim/G#, F#m/A, G#dim/B, A+/C#, Bm/D; in 2nd inversion C#/G#, D/A, E#dim/B, F#m/C#, G#dim/D, A+/E#, Bm/F#.
C# scaleC# open positionC# positionsC# fretboardC# one stringC# double stopsC# chordsC# inversionsC# drop 2C# arpeggiosC# progressionsC# backing track
D Phrygian dominant chord inversions
In D Phrygian dominant the home chord D becomes D/F# in 1st inversion and D/A in 2nd inversion. The seven triads in 1st inversion are D/F#, Eb/G, F#dim/A, Gm/Bb, Adim/C, Bb+/D, Cm/Eb; in 2nd inversion D/A, Eb/Bb, F#dim/C, Gm/D, Adim/Eb, Bb+/F#, Cm/G.
D scaleD open positionD positionsD fretboardD one stringD double stopsD chordsD inversionsD drop 2D arpeggiosD progressionsD backing track
Eb Phrygian dominant chord inversions
In Eb Phrygian dominant the home chord Eb becomes Eb/G in 1st inversion and Eb/Bb in 2nd inversion. The seven triads in 1st inversion are Eb/G, Fb/Ab, Gdim/Bb, Abm/Cb, Bbdim/Db, Cb+/Eb, Dbm/Fb; in 2nd inversion Eb/Bb, Fb/Cb, Gdim/Db, Abm/Eb, Bbdim/Fb, Cb+/G, Dbm/Ab.
Eb scaleEb open positionEb positionsEb fretboardEb one stringEb double stopsEb chordsEb inversionsEb drop 2Eb arpeggiosEb progressionsEb backing track
E Phrygian dominant chord inversions
In E Phrygian dominant the home chord E becomes E/G# in 1st inversion and E/B in 2nd inversion. The seven triads in 1st inversion are E/G#, F/A, G#dim/B, Am/C, Bdim/D, C+/E, Dm/F; in 2nd inversion E/B, F/C, G#dim/D, Am/E, Bdim/F, C+/G#, Dm/A.
E scaleE open positionE positionsE fretboardE one stringE double stopsE chordsE inversionsE drop 2E arpeggiosE progressionsE licksE ornamentsE flamenco techniqueE backing track
F Phrygian dominant chord inversions
In F Phrygian dominant the home chord F becomes F/A in 1st inversion and F/C in 2nd inversion. The seven triads in 1st inversion are F/A, Gb/Bb, Adim/C, Bbm/Db, Cdim/Eb, Db+/F, Ebm/Gb; in 2nd inversion F/C, Gb/Db, Adim/Eb, Bbm/F, Cdim/Gb, Db+/A, Ebm/Bb.
F scaleF open positionF positionsF fretboardF one stringF double stopsF chordsF inversionsF drop 2F arpeggiosF progressionsF backing track
F# Phrygian dominant chord inversions
In F# Phrygian dominant the home chord F# becomes F#/A# in 1st inversion and F#/C# in 2nd inversion. The seven triads in 1st inversion are F#/A#, G/B, A#dim/C#, Bm/D, C#dim/E, D+/F#, Em/G; in 2nd inversion F#/C#, G/D, A#dim/E, Bm/F#, C#dim/G, D+/A#, Em/B.
F# scaleF# open positionF# positionsF# fretboardF# one stringF# double stopsF# chordsF# inversionsF# drop 2F# arpeggiosF# progressionsF# backing track
G Phrygian dominant chord inversions
In G Phrygian dominant the home chord G becomes G/B in 1st inversion and G/D in 2nd inversion. The seven triads in 1st inversion are G/B, Ab/C, Bdim/D, Cm/Eb, Ddim/F, Eb+/G, Fm/Ab; in 2nd inversion G/D, Ab/Eb, Bdim/F, Cm/G, Ddim/Ab, Eb+/B, Fm/C.
G scaleG open positionG positionsG fretboardG one stringG double stopsG chordsG inversionsG drop 2G arpeggiosG progressionsG backing track
G# Phrygian dominant chord inversions
In G# Phrygian dominant the home chord G# becomes G#/B# in 1st inversion and G#/D# in 2nd inversion. The seven triads in 1st inversion are G#/B#, A/C#, B#dim/D#, C#m/E, D#dim/F#, E+/G#, F#m/A; in 2nd inversion G#/D#, A/E, B#dim/F#, C#m/G#, D#dim/A, E+/B#, F#m/C#.
G# scaleG# open positionG# positionsG# fretboardG# one stringG# double stopsG# chordsG# inversionsG# drop 2G# arpeggiosG# progressionsG# backing track
A Phrygian dominant chord inversions
In A Phrygian dominant the home chord A becomes A/C# in 1st inversion and A/E in 2nd inversion. The seven triads in 1st inversion are A/C#, Bb/D, C#dim/E, Dm/F, Edim/G, F+/A, Gm/Bb; in 2nd inversion A/E, Bb/F, C#dim/G, Dm/A, Edim/Bb, F+/C#, Gm/D.
A scaleA open positionA positionsA fretboardA one stringA double stopsA chordsA inversionsA drop 2A arpeggiosA progressionsA licksA ornamentsA flamenco techniqueA backing track
Bb Phrygian dominant chord inversions
In Bb Phrygian dominant the home chord Bb becomes Bb/D in 1st inversion and Bb/F in 2nd inversion. The seven triads in 1st inversion are Bb/D, Cb/Eb, Ddim/F, Ebm/Gb, Fdim/Ab, Gb+/Bb, Abm/Cb; in 2nd inversion Bb/F, Cb/Gb, Ddim/Ab, Ebm/Bb, Fdim/Cb, Gb+/D, Abm/Eb.
Bb scaleBb open positionBb positionsBb fretboardBb one stringBb double stopsBb chordsBb inversionsBb drop 2Bb arpeggiosBb progressionsBb backing track
B Phrygian dominant chord inversions
In B Phrygian dominant the home chord B becomes B/D# in 1st inversion and B/F# in 2nd inversion. The seven triads in 1st inversion are B/D#, C/E, D#dim/F#, Em/G, F#dim/A, G+/B, Am/C; in 2nd inversion B/F#, C/G, D#dim/A, Em/B, F#dim/C, G+/D#, Am/E.
B scaleB open positionB positionsB fretboardB one stringB double stopsB chordsB inversionsB drop 2B arpeggiosB progressionsB backing track
Phrygian Dominant Chord Inversions: frequently asked questions
Short answers to the questions guitarists ask most about the Phrygian dominant chord inversions.
What is a first inversion chord?
A chord with its 3rd in the bass. E/G# is E major with G# as the lowest note; in E Phrygian dominant the 1st inversions are E/G#, F/A, G#dim/B, Am/C, Bdim/D, C+/E and Dm/F.
How do I name an inverted chord?
Write the chord, a slash and the bass note: E/B is an E chord with B in the bass. In Roman numerals a 6 marks the 1st inversion and 6/4 the 2nd inversion, as in I6 and I6/4.
Why does C+ look the same in every inversion?
C+ is built of two major thirds, C E G#, so moving its lowest note up an octave gives another augmented chord: C+/E has the notes of E+, C+/G# those of G#+. On one group of strings the same shape moves up four frets.
Which inversion should I learn first?
The 1st inversion of the home chord, E/G# in E. Its bass moves by a half step to Am and from F/A, the two moves that sound most like the scale.
Do inversions change the harmony?
No. The chord keeps its notes and its role; only the bass note and the colour change. That is why E/G# can take the place of E in any progression of the scale.