Discussion 11d - Voice-leading for Second Inversion Chords

Class Discussion

Second Inversion chords

Second inversion chords are almost always some kind of tertiary function. Second inversion chords are, in general, less stable than root position chords.

There are only four ways a second inversion chord can function. Four tertiary functions:

Cadential

• The only type of cadential 6/4 chord is the I6/4 chord. Because the fifth is in the bass, it sounds more dominant, and is therefore always labeled as dominant because it extends the function of the V chord. In general, the cadential I6/4 chord resolves to a root position V chord or root position V7 chord. Always double the fifth on these chords.

Passing

• A passing 6/4 chord is the result of having smooth voice leading in the bass voice. In these chords, like most 6/4, it is often preferable to double the fifth of the chord. Pedal

Arpeggiated

• An arpeggiated chord is when the bass voice changes to another pitch that is in the chord in a way that effects the harmony. We will rarely ever label a chord this in music.

Class Discussion 2021

Secondary Functions: replace the primary functions Tertiary chords: take on the function of those around them by extending/embellishing; they work in chromatic and diatonic harmony

If you see a I6/4, it is most likely functioning as something other than the tonic.

There are four types of second inversion chords:

• Cadential
• Passing
• Pedal
• Arpeggiated

Second inversion triads have to be tertiary function.

Doubling rules:

• Double the bass! In this case, that would be the fifth of the chord. Doubling the root is possible, but more difficult than doubling the fifth

Cadential 6/4 chords

• I6/4 will ALWAYS come before V(7). V(7) must be in root position because the bass movement must be static between the two chords. I6/4 - V(7) - I gives us a very smooth soprano line, but in order to do that there needs to be a common tone in the bass at some point
• I6/4 has dominant function because it extends V(7)

• Label it using a bracket to show dominant function:

  I6/4 V I |____| V D ———– T

Passing 6/4 chords

• I - V - ii6/4 - V6 - I
  • Whenever you have a passing chord, its “primary function” becomes that of the chords around it, no matter was Roman numeral it is. In this example, ii6/4 has a dominant function because it acts as part of the V’s around it
  • Their tertiary function is basically just to act as a bridge between other chords–to make voice leading easier. We wouldn’t have been able to set up our cool contrasting motion soprano and bass in this example without the passing 6/4 in the middle
  • Passing chords are quite flexible. They can found in nearly any location in a chord progression. One voice (usually the bass) will have passing motion, and another voice having interchange (contrary motion).

  I - V - (ii6/4) - V6 - I (pass) T D————— T

Pedal 6/4 chords

• Centered around the idea of the pedal tone, whereas a passing chord is defined by (majority) passing motion
• How to differentiate a pedal chord from a pedal non-chord tone: if the bass is a chord member, it’s a pedal chord! If it isn’t, it’s an NCT
• Static motion in perfect octaves is a PP8…unless it’s a pedal
• Just like cadential and passing chords, these chords extend the harmonies on either side of them

• The pedal does NOT have to be in the bass, but it is almost always in the bass

  I (IV6/4) I (ped) T——————

Arpeggiated 6/4 chords

• Not very common, needs a large amount of time to establish the pattern in order to identify. An example is large amounts of vamps (4 measures +) on one chord. The harmonic motion we hear is the whole chord motion changing every 4 or so bars. (i.e. I chord going to a I6 chord to a I6/4 chord over the course of 12+ measures).