How to Practise Chord Inversions Using the Circle of Fifths (Piano)

To practise chord inversions with the circle of fifths, pick a target chord, play its neighbour on the circle (IV for a plagal cadence, V for an authentic cadence), and choose the inversion that keeps the common note in the same position so the chords connect smoothly.

Video lesson by Jason Zac · Beginner · 34 min

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This lesson by Jason Zac of Nathaniel School of Music shows a musical way to drill chord inversions on the piano: move between neighbouring chords on the circle of fifths and keep the shared note still. It suits beginners who know basic major triads and want inversions to feel automatic rather than like a dry exercise.

The idea: neighbours share a note

Clockwise, the circle runs in fifths: C G D A E B F# Db Ab Eb Bb F. Anticlockwise it moves in fourths. Any two neighbouring major chords share exactly one note. Keep that note in the same position (low, middle or high) and rearrange the other two notes. This gives the most efficient hand movement and the smoothest voice leading.

Step 1: The plagal cadence, E to B

The lesson uses B major (B D# F#) as the target. Its anticlockwise neighbour is E major (E G# B), the IV chord, so E to B is a plagal (IV–I) cadence. The common note is B.

• B in root position (B D# F#): B is at the bottom, so play E major as B E G#, its second inversion.
• B in first inversion (D# F# B): B is on top, so play E major in root position, E G# B.
• B in second inversion (F# B D#): B is in the middle, so play E major as G# B E, its first inversion. The top note E slides down to D#, a lovely melodic line also known as the Amen cadence heard at the end of church hymns.

Step 2: The authentic cadence, F# to B

Go the other way round the circle: the clockwise neighbour of B is F# major (F# A# C#), the V chord. The common note is F#, the fifth of B. Keep F# fixed in whichever position it sits in the B chord, for example C# F# A# moving to D# F# B, where the middle F# stays and C# rises to D#. Practise all three inversion pairs.

Step 3: Add rhythm and snapping

Play the first chord on beat 1 and land the second chord on the and of beat 2, halfway between beats 2 and 3. Count aloud: 1 and 2 and 3 and 4 and. Then lift your hands to snap on beats 2 and 4, like a snare drum, and recover the chord in time. This trains you to find inversions without looking. You may use the sustain pedal, but lift it before the next chord so the sounds do not clutter.

Step 4: Add a melody and sing

With the chords in this rhythm, float a simple right-hand melody around the notes under your hand shape, using notes from the B major scale. Sing along so the melody line is not lost; your voice can only do one note at a time, which keeps you focused.

Step 5: Extend to three and four chords

Keep moving anticlockwise. A E B: A major shares E with E major, and E shares B with B major. For example, A in root position, E in first inversion, B in second inversion. These three chords belong to B Mixolydian, where A is the flat seventh. Because three chords make an odd-length phrase, repeat one chord to fill an even number of bars. Then add D: D root position, A first inversion, E second inversion, B root position.

Variations

Once major-to-major feels secure, try changing chord qualities. Minor to minor gives a natural minor sound, major IV to minor i gives a Dorian flavour, and minor iv to major I gives a Mixolydian flat-six colour.

How to practise

1. Start with four counts per chord, then two counts each.
2. Try roots in the left hand, both hands on chords, or arpeggio in one hand and block chords in the other.
3. Cycle all three inversions, then add the rhythm, snaps, pedal, melody and singing.

Questions about this lesson

How do I choose which inversion to play?

Find the note the two chords share and keep it in the same position, low, middle or high. Rearrange only the other two notes to form the new chord.

Which inversion of E major goes to B major in root position?

Play E major in second inversion, B E G#, so the common B stays at the bottom before moving to B D# F#.

What is the Amen cadence?

It is the plagal IV–I cadence heard at the end of hymns. Playing G# B E to F# B D# keeps B in the middle while the top voice slides from E to D#.

Why snap my fingers while practising inversions?

Lifting your hands to snap on beats 2 and 4 forces you to find the next chord shape quickly and without looking, while keeping steady time.

Practise it

• Circle of FifthsExplore the Circle of Fifths through keys, scales, chords and intervals.
• Cadence LibraryCompare piano cadences across keys and listen to how different chord movements create closure, suspense or a turn in a new direction.
• Piano classes at Nathaniel School of MusicLive online or in Bangalore, with a teacher.
• All free music apps40 practice tools for harmony, rhythm, ear training and more.

Related lessons

• One Mammoth Lesson: Major Scales in All 12 Keys, Circle of Fifths and Chord InversionsYou can practise chord inversions in all 12 keys by moving triads around the Circle of Fifths: go counterclockwise in authentic (V–I) cadences with your right hand climbing up the keyboard, then clockwise in plagal (IV–I) cadences with the chords descending, always keeping common notes and moving the others by the smallest step.
• Make Chord Practice Fun With the Circle of Fifths (Part 1)To practise major chords around the Circle of Fifths, play all 12 triads moving clockwise (the plagal direction) and anticlockwise (the authentic direction), keeping the common note and sliding the other two notes, then turn it into a rhythm workout by shrinking the arpeggio cycle from 8 beats down to 3 while the metronome stays at the same tempo.
• How to Change Piano Chords Smoothly (5 Fixes for Fumbling Hands)To change piano chords smoothly, visualise the next chord while still playing the current one, keep common notes using inversions, practise the changes two chords at a time, understand each chord's function, and always shift on time even if you make a mistake.
• 12 Bar Blues Piano for Beginners (Sing and Play Along)The 12 bar blues uses only the I, IV and V major chords (C, F and G in the key of C), arranged in three four-bar lines: I-I-I-I, IV-IV-I-I and V-IV-I-I, with optional IV in bar 2 and a V turnaround in the final bar.