Second inversion in the context of "Figured bass"

In the music theory of harmony, the root is a specific note that names and typifies a given chord. Chords are often spoken about in terms of their root, their quality, and their extensions. When a chord is named without reference to quality, it is assumed to be major—for example, a "C chord" refers to a C major triad, containing the notes C, E, and G. In a given harmonic context, the root of a chord need not be in the bass position, as chords may be inverted while retaining the same name, and therefore the same root.

In tertian harmonic theory, wherein chords can be considered stacks of third intervals (e.g. in common practice tonality), the root of a chord is the note on which the subsequent thirds are stacked. For instance, the root of a triad such as E Minor is E, independently of the vertical order in which the three notes (E, G and B) are presented. A triad can be in three possible positions, a "root position" with the root in the bass (i.e., with the root as the lowest note, thus E, G, B or E, B, G from lowest to highest notes), a first inversion, e.g. G, B, E or G, E, B (i.e., with the note which is a third interval above the root, G, as the lowest note) and a second inversion, e.g. B, E, G or B, G, E, in which the note that is a fifth interval above the root (B) is the lowest note.

In music, the fifth factor of a chord is the note or pitch that is the fifth scale degree, counting the root or tonal center. When the fifth is the bass note, or lowest note, of the expressed chord, the chord is in second inversion Play.

Conventionally, the fifth is second in importance to the root, with the fifth being perfect in all primary triads (I, IV, V and i, iv, v). In jazz chords and theory however, the fifth is often omitted, or assumed, in preference for the chord quality determining third and chord extensions and additions.

In music, especially modern popular music, a slash chord or slashed chord, also compound chord, is a chord whose bass note or inversion is indicated by the addition of a slash and the letter of the bass note after the root note letter. It does not indicate "or".For example, a C major chord (C) in second inversion is written C/G or C/G bass, which reads "C slash G", "C over G" or "C over a G bass". Some chords may not otherwise be notated, such as A♭/A. Thus, a slash chord may also indicate the chord form or shape and an additional bass note.

In popular music, where the exact arrangement of notes is less important than some other forms, slash chords are generally used only when the specific bass note is important. A common example in guitar based music is in the I-V-vi progression, in which the V chord is a passing chord. By placing the third of the V chord in the bass, a descending scale, also known as a walkdown, is created in the bass. For example, in the key of G major this would be the chords G, D/F♯, Em. That progression has the descending bassline G, F♯, E. This type of slash chord contains diatonically occurring notes. In traditional Classical notation it would be written using figured bass symbols. Another commonly used type of slash chord in chord progressions is the minor key progression i – i/VII bass – iv/VI bass – V. In the key of A minor, this chord progression would be notated A minor, A minor/G, D Minor/F, E major (or E7). This descending bassline moving diatonically from i to V is a stock feature in popular music that is used in numerous songs.