8/12/2019 FYH05 2nd Inversion

1/4

SECOND INVERSIONS OF TRIADS.1 A chord i s said to be in its second inversion when the 5th from the rmt

is in the bass. The indication is a c after the root number, nd the figuring is f

2. Thc use of second inversiuns is restricted and only two possibilitiesneed to bc considered in elementary work viz. Cadential and Passing...the mom Only two are possible c and IVc the former beinp

mrtslrro he wwte strongly accented thun hc : The bass of the : y ot be n@prmckcdby lea* / rm un inucrs:on 01anulhsr chord.Ex. 61

llb Ic V

a ) Bass approached y leap itom a root position weaker than :b ) Bass approache by step from a 1st inversion weaker than tc) Rass approached by leap from 1st inversion of su chord, and :

hoth weak.d)Bass approached by leap from its own root position : eaker than :c) Bad ; bass approached by leap from 1st i t l w s i o s of a c h r dBut see Ex. 63 c) and 4

8/12/2019 FYH05 2nd Inversion

2/4

4. Uses O IC CADENTIAL.a) As first chord of a strong to we k half-clae, Ic-V.

Ex. 62

The minims C-B are relatively strong and weak .b) To precede Va in a perfect or an interrupted cadence, provided the rhythmconforms to the rule given in para. 3.

The appropriate melodic endings are as shown by the figures over the soprano.Note the arrangement of the upper parts at c) and d).c) Dominant of scale in soprano or bass, lasting two or more beats, at ahalf or full close, should be harmonised as Ic-V, to avoid too long a halt.Ex. 64.

a) Here both Soprano and Bass last four beats, harmonised with two two-beat chords. If they were three beats long, the rhythm would be as at b).c) Here t h e bass lasts two beats so Ic V is appropriate.N.B. In this mnnection remember that the 3rd beat of a four-beat bor s stroncornparad with the th k t ut w-k as compared with the 1st

8/12/2019 FYH05 2nd Inversion

3/4

5. fVc Cadentad may be used to dwmate a perfect or a plagal cadme,prwided the final tonic bags lasts at least three beats.Ex. 65.

a) Decorated perfect cadenceb) Decorated plagal cadence Note the rhythm in the final bar* Minimfollowed by crotchet would sound too cut off.

6. THEPASSING Only Ic and Vc are possible. The b s is approachedand quittcd by step, and the is always on a weak beat c lies between IVaand fVb or vi~s ersa ; Vc between Ia and Ib or vice versa.Ex. 66

Nd c (1) a) and 6)show ~isefulharmonisations for the 4th. 5th, and 6th notesnf the scale in eithm soprano or bass, provirdd & 51h i s r f f~cccb lcr l .(c) and d ) may and preferably should replace the progressionsdealtwith in chap. 4, paras. 12 and 20, f i ov i dd that the m U c h d 1ththree s wnacceulad If t is chard s accented, VIIb must u d , asheretofure. Compare a)with b) in the following :Ex

8/12/2019 FYH05 2nd Inversion

4/4

7. This exhausts the elementary uses of the f. The student should notethat when he introduces a it should be explairiable as either cadential orpassing. If this is not possible, its usc at any given point must be avoided, andsome other chord substituted.xmcises : I) dd S. A T

Long dominant at half-clost ; use lc V.ong dominant at full close ; use Ic V.Use the appropriate passing 'Use IVc-I to ddcbrate this plagal cadence.2. Add A. T

k g ominant at h a l f c l m c ; use Ic-Vt Halfclaae strong to weak ; u s It V 35