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Discussion 11d - Voice-leading for Second Inversion Chords

Class Discussion

There are four types of second inversion chords:

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)

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

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

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