Discussion 11d - Voice-leading for Second Inversion Chords

Class Discussion

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).