Chords in second inversion

Victoria Malawey

Main Body

26 Chords in second inversion

Learning goals for Chapter 26

In this chapter, we will learn:

The primary ways chords are used in musical contexts
How to identify the function of , aurally and in scores
How to voice and connect second-inversion triads in four-part textures

Second-inversion chords

Similar to chords, or are often used to create more interesting chord progressions and bass lines. There are three primary types of six-four chords: the , the , and the .

The primary characteristic of the , illustrated in Example 26‑1, involves the bass note of the six-four chord, which is prepared and resolved by step in the same direction, either up (as in this example) or down.

Example 26‑1. The passing six-four

image of progression on Grand Staff in G major: one, five-six-four, one-six

Unlike the passing six-four, which can be any diatonic chord (flexible harmonic function) within a key, the expresses and almost always immediately precedes a root-position V or V7 chord. Thus, the bass note of the cadential six-four is always scale degree $\hat{5}$ (“sol”). In four-voice writing, the bass note and one other voice stay on scale degree $\hat{5}$ when connecting to the V chord, creating motion with two of the upper voices that move down by step. Example 26‑2 shows an example of the cadential six-four chord used in E $\flat$ major.

Example 26‑2. The cadential six-four

The chord is an embellishing chord, appearing with a static bass line. The bass line acts as a pedal tone (hence its name). Some textbooks call this chord a neighboring six-four because its upper voices act as upper neighbor notes to the chord on either side of the six-four. Example 26‑3 shows a pedal six-four in the key of F major, in this case a second-inversion B $\flat$ major (subdominant) triad, which embellishes the E $\flat$ major (tonic) chord before and after it, sharing the same bass note.

Example 26‑3. The pedal six-four

Occasionally, a six-four chord will result from an arpeggiated bass line or texture, but otherwise most six-four chords will be one of the three types shown above.

Video: T43 Intro to six-four chords (6:25)

This video briefly summarizes the properties of all three triad positions (, , and ) and explains in further detail the three uses of second inversion triads (aka “six-four” chords): the , , and chords.

Seventh chords in second inversion, four-three ( ${}^4_3$ ) chords, do not have the same versatility as six-four chords, but occasionally they do function in a pedal or passing capacity. The functions similarly to the passing six-four. Compare the passing four-three in Example 26‑4 with the passing six-four in Example 26‑1 above.

Example 26‑4. The passing four-three

Six-four chords in context

Example 26‑5 features a compelling use of the passing six-four and draws upon a repeating chord progression. Notice that the bass line features a stepwise descent. When the bass line features scale degree $\hat{2}$ (E, or “re”), it creates stepwise motion as the progression repeats, connecting from “mi” (F $\sharp$ ) to “do” (D).

Example 26‑5. The Cliks, “Henry,” 2:05–2:22

Listen to the full track on Spotify.

Learn about 21st-century Canadian indie rock band the Cliks by reading this article from their official website.

Example 26‑6 features an exciting cadential six-four chord in an orchestral context.

Example 26‑6. Ludwig van Beethoven, Symphony no. 3, mvt. 1, near end

Listen to the full movement, performed by the Berlin Philharmonic, conducted by Herbert von Karajan, on Spotify.

Learn about German composer Ludwig van Beethoven (1770–1827) by reading this Oxford Music Online article, written by Joseph Kerman and others.

Example 26‑7 also features cadential six-four chords on the lyrics “coming to take you” and a little later on “dying to take you.” Listen for the following progression with these lyrics:

Example 26‑7. The Beatles, “Magical Mystery Tour,” 2:01–2:24

Listen to the full track on Spotify.

Learn about 20th-century English rock band the Beatles and their music by reading this Oxford Music Online article, written by Walter Everett.

Example 26‑8 also features a cadential six-four in the key of B $\flat$ major, about ten seconds into the audio example. In this example, the cadential six-four resolves to the dominant triad, as we would expect, and then moves to the subdominant triad and finally tonic, for a cadence.

Example 26‑8. Susanne Sundfør, “When the Lord,” 1:34–2:04

Listen to the full track on Spotify.

Learn about Norwegian singer-songwriter Susanne Sundfør (b. 1986) by reading this last.fm article.

Examples 26‑9 and 26‑10 feature pedal six-four chords in the key of C major, using the following progression: I – IV ${}^6_4$ – I – IV ${}^6_4$ . Notice the static bass line, lingering on the tonic scale degree (“do”), throughout the passages in both examples.

Example 26‑9. Night Ranger, “Sister Christian” 0:50–1:02

Listen to full track on Spotify.

Learn about American rock band Night Ranger by reading this article from their official website.

Example 26‑10. Styx, “Best of Times,” 1:13–1:36

Listen to the full track on Spotify.

Learn about 20th-century American rock band Styx by reading this Oxford Music Online article, written by Michael Ethen.

Similarly, Example 26‑11 features a repeating progression with another pedal six-four chord, in E $\flat$ major: I – vi⁶ – IV ${}^6_4$ . Again, the bass is static, remaining on the tonic scale degree throughout this example.

Example 26‑11. Youth Lagoon, “Afternoon,” 0:48–1:04

Listen to the full track on Spotify.

Learn about Youth Lagoon, the solo project of American musician Trevor Powers (b. 1989), by reading this page on the Fat Possum Records website.

Video: T44 Six-four chords in context (7:00)

This video walks you through musical examples of the three six-four chord types (, , and ) in music by Youth Lagoon, Night Ranger, Styx, Beethoven, the Beatles, and the Cliks.

Listen to the examples featured in this video here: Spotify playlist for second-inversion chords

EXERCISE 26-1 Analysis with chords in all inversions

After listening to each excerpt, determine the key, provide a Roman numeral analysis beneath the staff, label cadences and textures, circle all six-four chords, and label them with the type of six-four chord (, , or ) whenever they appear.

For Worksheet example 26‑1, focus your analysis primarily on the piano accompaniment, and ignore the non-chord tones marked in parentheses in m. 9. The vocal part of this excerpt features many non-chord tones. In addition, this example has a passing four-three in lieu of a passing six-four. In which measure does it occur?

Worksheet example 26‑1. Louise Reichardt, “Die Blume der Blumen,” mm. 1–10

Listen to the full track, performed by soprano Amy Pfrimmer, on Spotify.

View an English translation of the German text at leider.net.

Learn about German composer Louise Reichardt (1779–1826) by reading this Oxford Music Online article, written by Nancy B. Reich.

Worksheet example 26‑2. Carl Maria von Weber, Castor et Pollux, op. 5, Theme from Variations on the Air de Ballet, mm. 1–8

Listen to the full track, performed by Alexander Paley, on Spotify.

Learn about German composer Carl Maria von Weber (1786–1826) by reading this Oxford Music Online article, written by Michael C. Tusa.

Access a printer-friendly .pdf of the exercise here: Ex26.1 Analysis with chords in all inversions

Listen to the audio examples featured in this exercise here: Spotify playlist for second inversion chords

Harmonic dictation with inverted chords

Once you feel comfortable with identifying harmonic function of root position chords by ear, you can take your skills to the next level by notating progressions that feature inverted chords. To this end, Appendix E, nos. 7 and 11–17, contains dictations with these chords. To practice this skill, listen to each short progression up to four times with the goals of notating the soprano and bass voices, providing Roman numerals beneath the staff, and identifying the cadence. Inverted chords facilitate greater stepwise motion in bass lines, which may make it easier to notate the bass part.

Part writing with six-four chords in SATB texture

When writing in a four-part texture, the principle for doubling for all six-four chords is simple: always double the bass, which is the fifth of the chord. In general, all parts should either move by step or same note. Models for part writing each of the three types appear in the following examples.

Example 26‑12 shows a model for part writing in four voices with a chord. It has the following features:

The common tone is kept in one voice
All other voices move by step
The voice that doubles the bass moves in contrary motion to the bass voice

Example 26‑12. Part-writing model for the passing six-four

Example 26‑13 shows a model for part writing with a chord. It has the following features:

The common tone is kept in the bass voice and one other voice
The other two parts move down by step

Example 26‑13. Part-writing model for the cadential six-four

Example 26‑14 shows a model for part writing with a chord. The preparation and resolution of pedal six-four chords are equally important. It has the following features:

The common tone is kept in the bass voice and one other voice
The other two parts are prepared by step and resolve down by step

Example 26‑14. Part-writing model for the pedal six-four

EXERCISE 26-2 Part writing with chords in all inversions

PART A. Try writing some chord connections following each of the models we have studied. Label each six-four chord by type (passing, pedal, or cadential).

PART B. Work out the best solution for part writing the following progression, filling in the missing parts (SATB) for each of the chords after the first, which is given. Remember to:

Spell chords correctly
Use same-note or stepwise motion whenever possible
Double the root in root-position chords (this is the bass note)
Double the fifth in six-four chords (this is also the bass note)

What type of six-four chord is used in this progression? ________________________

PART C. Given the Roman numerals and starting notes, complete each passage for four voices (SATB), following the guidelines for part writing we have studied, and label all cadences. Take special care to choose an appropriate voicing for the first chord (no more than an octave between soprano and alto or between alto and tenor). Also label the type of six-four chord whenever they appear.

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