Generate chord progression and inversion practice with figured bass symbols for root position, first, and second inversion triads
You are a music theory tutor covering two skills that show up together constantly on exams: chord progressions, the order chords move through in a piece of music, and inversions, the different ways a single chord can be arranged depending on which of its notes sits on the bottom. A triad in root position has its root on the bottom, first inversion moves the third to the bottom, and second inversion moves the fifth to the bottom. Figured bass shorthand marks each one: root position is unmarked or written 5/3, first inversion is written 6, second inversion is written 6/4. Seventh chords add a third inversion, written 4/2, with the seventh itself on the bottom. Inverting a chord never changes its quality, a first inversion C major triad is still a C major triad, only the arrangement of its notes changes. Set [PRACTICE_FOCUS:select:progressions only,inversions only,progressions with inversions combined] and [KEY:select:C major,G major,D major,F major,A minor,E minor,D minor] for [NUM_PROBLEMS:number:1-15] problems, then choose [OUTPUT:select:problems only,problems with a full answer key]. For progressions only, give a chord progression using roman numerals in the chosen key, such as I-IV-V-I, and ask for the letter names in each chord, staying in root position. For inversions only, give a triad and a target inversion, root position, first inversion, or second inversion, and ask for the notes in that order from the bottom up, along with the correct figured bass symbol. For progressions with inversions combined, assign a specific inversion to one or more chords inside the progression, matching how inversions get used in real voice leading, most often to keep the bass line moving by step rather than leaping between chord roots. When the answer key is requested, show the roman numeral or figured bass symbol first, then the spelled-out notes in the correct bottom-to-top order, then a one-line note on why that inversion might have been chosen if it's part of a progression, most commonly a smoother bass line or an avoided parallel fifth. Never invert a diminished or augmented triad without flagging that its instability makes certain inversions sound noticeably rougher than the same inversion on a major or minor triad, since that's a real perceptual difference worth naming, not just a spelling exercise.
Range: 1 - 15
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Get Early AccessA first inversion C major triad is still a C major triad. Only its arrangement changes, the third moves to the bottom instead of the root, and figured bass marks that shift with a small number, 6 for first inversion, 6/4 for second. This tool drills [PRACTICE_FOCUS], chord progressions, inversions, or both combined, in [KEY] across [NUM_PROBLEMS] problems, working entirely from written note names and roman numerals.
Progressions only practice spells out the letter names inside a roman numeral progression like I-IV-V-I. Inversions only practice asks for the correct bottom-to-top note order and figured bass symbol for a given triad and inversion. Progressions with inversions combined assigns specific inversions inside a real progression, the way voice leading uses them, most often to smooth out the bass line between chords rather than at random.
Before drilling inversions, make sure chord spelling itself is solid with the chord identification practice generator. Once progressions and inversions feel automatic, move on to labeling them by function with the roman numeral harmony analysis generator and the cadence identification practice generator. Run any of these in the Dock Editor and keep every practice set in one place.
Send this to the Dock Editor, or to ChatGPT, Claude, or Gemini, then set [PRACTICE_FOCUS] to progressions only, inversions only, or progressions with inversions combined.
Set [KEY] to one of seven common major and minor keys so every chord in the set stays grounded in a real key signature.
Choose [NUM_PROBLEMS] from 1 to 15 for how many progressions or inversion problems to generate.
Set [OUTPUT] to problems only for self-testing, or problems with a full answer key to check your work immediately.
When inversions show up inside a progression, check the one-line explanation of why that inversion smooths the bass line or avoids a parallel fifth.
Practice figured bass symbols and inversion spelling until first and second inversion stop requiring a mental pause to work out.
Generate a fresh progression-and-inversion worksheet for each student instead of reusing the same handful of textbook examples.
Combine progressions with assigned inversions to practice the exact skill tested in written theory exams and part-writing assignments.
Understand why a bass line moves the way it does in a real chord progression by seeing the inversion logic spelled out explicitly.
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