the 6/4 and other linear chords. root & first inversion triads (5/3 & 6/3) can be used...
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CHAPTER 16The 6/4 and Other Linear Chords
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The 6/4 and Other Linear Chords Root & First Inversion Triads (5/3 & 6/3)
can be used freely – all consonant intervals
6/4 (2nd inversion) has dissonant 4th which must be approached and resolved correctly6/4 functions linearly – comes between
more stable harmonies; much like a viio6 between a I and I6 or a neighboring IV between two tonic triads
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Types of 6/4 Chords
Accented CadentialOccurs at authentic or half cadence
Unaccented PassingBetween two harmonies
Sustained or PedalOver which a neighboring or passing chord
occurs Arpeggiated
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The Accented/Cadential 6/4
Useful in the progression IV-V-I or ii6-V-I to help alleviate parallel 5ths
Built on the 5th of tonic; however more closely attributed to a dominant harmony because it aurally lacks the stability of tonic
Functions as an expansion of dominant harmony
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Accented/Cadential 6/4
I6 IV V I I I6 IV V I
6/4 5/3Unintended //5th
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Accented/Cadential 6/4
Accented 6/4 followed by root position dominant chord
Dissonant 4th prepared by common tone from the previous IV and resolves downward by step (typical suspension)
Frequently appears at an authentic cadence
Soprano outlines (^4 -^3-^2-^1) but may appear as (^8-^8-^7-^8)
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Accented/Cadential 6/4
cm: i6 iv6 i
8 8 7 8
Cadential 6/4 indicated by Roman numeral as part of the suspended dominant function
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Accented/Cadential 6/4
Dominant 6/4 to 5/3 sometimes may occur as a half cadence, with the final triad of the authentic cadence omitted
This occurs frequently in slow movements of the Classical period
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Accented/Cadential 6/4
In partwriting…The bass note of the 6/4 is almost always
doubled○ This doubled note (^5) may remain or
descend to ^4 (of a V4/2) on its way to ^3
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Elaborating the Cadential 6/4
No matter the elaboration, the voice leading should always remain constant
A: ii6 ( 6/5 6/4 5/4 5/3 ) I V
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The Passing 6/4 Chord May occurs as a passing sonority between
chords of similar function Invariably occurs on an unstressed beat Non-essential linear chord Passing V6/4 (2nd inversion) may function as a
passing sonority linking a root-position tonic to a first-inversion tonic; I – (V6/4) – I6 or the reverse
Commonly used to link two pre-dominant chords with stepwise motionMost common: IV6 – (6/4) – ii6/5
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The Passing 6/4 Chord
Eb: I6 (6/4) I
D: IV6 6/4 ii6/5 V7 I
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The Pedal 6/4 Chord
Features a sustained bass note over which the dissonant 4th may occur in either neighboring or passing motion
The neighboring version in the first example shows the 5 – 6 – 53 4 3 voice leading
progression over a stationary bass note.
On both accounts the 6/4 chord is marked only with figured bass numerals.
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The Pedal 6/4 Chord
Be careful when identifying the note that functions as the actual bass in accompanimental partsIn most cases the first bass note of the
measure of figuration is the real bass
C: 5/3 5/3 6/4 (!) 5/3
The recurring bass notes in m. 1-2 are not 6/4s. The bass note is sustained bass and root!Measure 3 is a legit 6/4. The F# in the RH is a chromatic passing tone
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The Pedal 6/4 Chord
In this case the dissonant 4th appears as part of a three-chord passing progression over the sustained or pedal bass.
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The Arpeggiated 6/4 Chord
Created by having a broken chord or arpeggiation in the bass
Usually extends over a series of measures rather than just one
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Other Treatments of the 6/4
See text pg. 278 – 279 for further examples and treatments of the 6/4
See especially the Beethoven (16.11b) and Scarlatti (16.11d)
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Cadenzas and the 6/4 Italian for cadence Written and performed for a solo instrument in a
concerto; typical of Classical period works Usually virtuosic in nature; usually on thematic
material from earlier in the movement Usually begins with an extended 6/4 followed
by improvisations and movement toward the dominant
A long trill on ^2 usually leads in to an orchestral tutti on the tonic harmony
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6/4 Chords in Harmonizations
Cadential 6/4 : 4-3-2-1, 8-8-7-8, or 2-8-7-8 when the second chord is 6/4
Passing 6/4: 7-(8)-2, prolonging dominant, or 4-(3)-2 & 6-(5)-4, prolonging pre-dominant
Pedal, neighboring 6/4: 3-(4)-3 or 5-(6)-5 over tonic harmony or passing 2-(3)-4 over dominant harmony
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Other Diatonic Linear Chords
Consonant Passing IUsed when //5th are loomingHelps link IV- V; stepwise in upper voice
V – IV progression (inherently retro)Interrupted the tonic to dominant motionAppears frequently in sequences and in a
standard blues progressionUsually appears in major modes
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Other Diatonic Linear Chords
V- IV Progression (continued)Sounds like a plagal cadenceDelays tonic by rerouting it through the sub-dominantFrequent tool of Romantic composers
Apparent Seventh ChordsArise out of linear voice leadingIncorrectly analyzed as ii4/2 or ii6/5 ; they do not
resolve properly (8-7) or progress to dominantWhen analyzing just provide the figured bass in
parentheses
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Other Diatonic Linear Chords
Interplay of Harmony and Melodic DissonanceUsually the origin of weirdo passing harmonies
○ Confusion comes with embellishing tones played simultaneously with reiterated chords
○ Do not give these chords Roman numerals or even begin to analyze them