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 V7 chord.• If a V7 follows a I 6/4, bracket the two chords

together to make a V7

• 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 (5th 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 V6/4 and the I6/4.

• Pedal six-four look for bass line: is it the same? Stepwise? Arppegiated? Most pedal six-four chords are I6/4 or IV6/4 chords.

• In four part texture, the bass (5th of the chord) is always doubled.