Chapter Nine Triads in Second Inversion Introduction Same

Introduction • Same as First Inversion Triads by the use of bass arpeggiations. •

Bass Arpeggiation and Melodic Bass • As with triads in first inversion, six-four chords

The Cadential Six-Four • Appears in a bass arpeggiation or a melodic bass. •

The Cadential Six-Four Continued • I 6/4 resolves to a root position V or

The Passing Six-Four • Any triad may be used as a passing six-four chord.

The Passing Six-Four Continued • passing fix-fours create weak harmonic function.

The Pedal Six-Four • Also known as static bass. • The bass note remains

Part Writing for Second Inversion Triads • In a four part texture, the bass

Conclusion • Six-four chords present through bass arpeggiation or if the melody is in

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Chapter Nine Triads in Second Inversion

Introduction • Same as First Inversion Triads by the use of bass arpeggiations. • Second Inversion Triads are NOT used as substitutes for the root position. • The Second Inversion of a triad is considered to be a much less stable sonority than either of the other two bass positions.

Bass Arpeggiation and Melodic Bass • As with triads in first inversion, six-four chords may come about through bass arpeggiation. Example:

The Cadential Six-Four • Appears in a bass arpeggiation or a melodic bass. • Tends to be used in three stereotyped contexts. • Both halves of this example begin with tonic triad and end with a V-I progression.

Example 9 -4

The Cadential Six-Four Continued • I 6/4 resolves to a root position V or V 7 chord. • If a V 7 follows a I 6/4, bracket the two chords together to make a V 7 • I 6/4 - V - I

The Passing Six-Four • Any triad may be used as a passing six-four chord. It also features smooth voice leading. • Six Four Chord used in stepwise motion in the BASS creates a passing figure. (NOT NCT’s)

The Passing Six-Four Continued • passing fix-fours create weak harmonic function.

The Pedal Six-Four • Also known as static bass. • The bass note remains the same, and 6/4 chord is preceded and followed by the same, root position chord.

Part Writing for Second Inversion Triads • In a four part texture, the bass (5 th of the chord) should be doubled. • The other voices generally move smoothly— often by step, both into and out of the six-four chord. • All members of the chord must be present.

Example 9 -14

Conclusion • Six-four chords present through bass arpeggiation or if the melody is in the bass. • Cadential six-four chord is a tonic six-four that delays the arrival of the V chord that follows it. (I 6/4 – V – I) • Passing six-four chord harmonizes the middle note of a three-note scalar figure in the bass. Most common is the V 6/4 and the I 6/4. • Pedal six-four look for bass line: is it the same? Stepwise? Arppegiated? Most pedal six-four chords are I 6/4 or IV 6/4 chords. • In four part texture, the bass (5 th of the chord) is always doubled.