Hi Joe,
Here is a stab at an answer, its all about context.

Firstly remember that chords can have MORE than one function. A C major 7 chord in first inversion can function of course as an E minor b6th .
This property of chords, ie. to have more than one function, is often used when modulating.
So don't think a chord has only one function. They can have functions (almost) 'identical to their root counterparts' (to quote you), but they also have other functions. Therefore one of your statements above does not exclude the other.

Secondly, when playing in a band the root is said to be supplied by the bass player - so, you get those 'Bill Evans' voicings that omit the root - he was playing in a trio. In these cases the full chord sound includes these bass notes supplied by the third party - the bass player.

Thirdly,
If you play a whole song solo, without accompaniment and you exclusively play inversions in the left hand, its going to sound peculiar - by which I mean it might sound exotic and in it's way OK (sometimes), but it's not going to sound like the original song.
If though, on the other hand, you substitute a left hand inversion here and there, that seems, (to my ears) to be fine. I would say that where the chord is in a prominant position such as the end of a song, an inversion would sound incomplete. "Normally" if there is such a musical term wink when playing solo, you would try to get the root of the chord in the left hand. This limits where your other left hand fingers can go of course, which is one reason why you might substitute an inversion here and there.

Chords and inversions are only a beginning of course, voicings and voice leading is where its at, a much richer canvas. However, personally I first spent a lot of time ensuring I could get to any inversion of any basic chord swiftly, then I started adding tensions to the voicings and of course missing out notes. This is just the way I approached this.

Anyway this is my attempt at an answer

Zero


Last edited by ZeroZero; 11/15/13 06:06 AM.
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