<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">The system of 6, 6-4 and so on is known as "figured bass" and goes back to the 16th and 17th century form of improvisation where the keyboard player (harpsichordist) was given the same bass line as the cello and or bass. This "rhythm section" is known as the "continuo". The string players could ignore the figures but the harpsichord used the indicated harmony to improvise what we would call "the changes".<div> </div><div>will w</div><div> </div><div> <div><div>On Sep 27, 2011, at 3:29 PM, Paul T Williams wrote:</div> <blockquote type="cite">Ahhh!   Makes sense to me. Thanks for clarifying this.  I always wondered that, too.  But;  why do this, when the notes are just written in the score?  Would a bassist wonder why he/she is playing an E or G when it's a C chord?  I've always just played what's written. Am I missing something? Best, Paul <table width="100%"> <tbody><tr valign="top"> <td>From: </td><td>"Tom Rhea, Jr." <<a href="mailto:rheapiano@cox.net">rheapiano@cox.net</a>> </td></tr><tr valign="top"> <td>To: </td><td><<a href="mailto:joegarrett@earthlink.net">joegarrett@earthlink.net</a>>, <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>> </td></tr><tr valign="top"> <td>Date: </td><td>09/27/2011 02:04 PM </td></tr><tr valign="top"> <td>Subject: </td><td>Re: [pianotech] theory question</td></tr></tbody></table> <hr noshade=""> <tt>Hi Joe, et al, The actual theory behind this convention is this: Consider the CEG major chord and the note positions when being played.  All the notes are said to be in their root positions. When a first inversion of the CEG chord is being played, the E and G are in their root positions but the C has been moved up an octave and is now a 4th interval above the highest adjacent root note, the G.  This position, EGC, is said to be a C Major 4 or first inversion of the C Major chord. In the second inversion of the CEG chord, the only note still in its root position is the G.  The C and E are moved an octave above their root positions, such that the E is a 6th interval above the G (in its root position) and the C is a 4th interval from the G (in its root position), hence a C Major 6/4. All of the chords are spelled from the bottom.  However, the intervals which comprise the inversions are labeled from the highest note still in its root position to the one or two notes that have been moved up an octave from their root positions, either a 4th interval for a first inversion or a 6th and a 4th interval for a second inversion.  The labeling of the inversion intervals is always from the highest interval first. I hope this helps with understanding the theory question. Regards, Tom -----Original Message----- From: <a href="mailto:pianotech-bounces@ptg.org">pianotech-bounces@ptg.org</a> [</tt><a href="mailto:pianotech-bounces@ptg.org"><tt>mailto:pianotech-bounces@ptg.org</tt></a><tt>] On Behalf Of Joseph Garrett Sent: Tuesday, September 27, 2011 2:26 PM To: pianotech Subject: Re: [pianotech] theory question Ken said: "I concur with Tom. You count from the bottom up. A "6" is the interval between the E and the C when in first inversion. In second inversion, G, C, E, there is a 4th between the G-C and an "6" between the G-E." Ken Gerler (I was a theory major in college) Hmmm? if that were the case, then the later would be a 4/6 rather than a 6/4. Right?<G> Personally, I prefer the Jazz Musicians way of saying something like "the C chord with a G in the bass.<G> That's my take on that. Joe Joe Garrett, R.P.T. Captain of the Tool Police Squares R I </tt> </blockquote></div> </div></body></html>