{"id":652,"date":"2023-05-11T19:03:56","date_gmt":"2023-05-11T19:03:56","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/chords-in-second-inversion\/"},"modified":"2025-08-14T19:27:31","modified_gmt":"2025-08-14T19:27:31","slug":"chords-in-second-inversion","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/chords-in-second-inversion\/","title":{"raw":"Chords in second inversion","rendered":"Chords in second inversion"},"content":{"raw":"<div class=\"chords-in-second-inversion\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 26<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>The primary ways [pb_glossary id=\"1711\"]second-inversion[\/pb_glossary] chords are used in musical contexts<\/li>\r\n \t<li>How to identify the function of [pb_glossary id=\"4662\"]six-four ([latex]{}^6_4[\/latex]) chords[\/pb_glossary], aurally and in scores<\/li>\r\n \t<li>How to voice and connect second-inversion triads in four-part textures<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Second-inversion chords\"><\/a>Second-inversion chords<\/h1>\r\n<p class=\"import-Normal\">Similar to [pb_glossary id=\"1710\"]first-inversion[\/pb_glossary] chords, [pb_glossary id=\"1711\"]second-inversion[\/pb_glossary] or [pb_glossary id=\"4662\"]six-four ([latex]{}^6_4[\/latex]) chords[\/pb_glossary] are often used to create more interesting chord progressions and bass lines. There are three primary types of six-four chords: the [pb_glossary id=\"3004\"]passing six-four[\/pb_glossary], the [pb_glossary id=\"3007\"]cadential six-four[\/pb_glossary], and the [pb_glossary id=\"3008\"]pedal six-four[\/pb_glossary].<\/p>\r\n<p class=\"import-Normal\">The primary characteristic of the [pb_glossary id=\"3004\"]passing six-four[\/pb_glossary], illustrated in Example 26\u20111, involves the bass note of the six-four chord, which is prepared and resolved <span>by step in the same direction, either up (as in this example) or down.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20111. The passing six-four<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image176.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image176.png\" width=\"541\" height=\"415\" alt=\"image of progression on Grand Staff in G major: one, five-six-four, one-six\" class=\"aligncenter\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Unlike the passing six-four, which can be any diatonic chord (flexible harmonic function) within a key, the [pb_glossary id=\"3007\"]cadential six-four[\/pb_glossary] expresses [pb_glossary id=\"4979\"]dominant function[\/pb_glossary] 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 [latex]\\hat{5}[\/latex] (\u201csol\u201d). In four-voice writing, the bass note and one other voice stay on scale degree [latex]\\hat{5}[\/latex] when connecting to the V chord, creating [pb_glossary id=\"2458\"]oblique[\/pb_glossary] motion with two of the upper voices that move down by step. Example 26\u20112 shows an example of the cadential six-four chord used in E[latex]\\flat[\/latex] major.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20112. The cadential six-four<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image177.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image177.png\" width=\"939\" height=\"444\" alt=\"image of progression on Grand Staff in E-flat major: one, four, one-six-four (cadential six-four), five, one\" class=\"alignnone\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">The [pb_glossary id=\"3008\"]pedal six-four[\/pb_glossary] 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\u20113 shows a pedal six-four in the key of F major, in this case a second-inversion B[latex]\\flat[\/latex] major (subdominant) triad, which embellishes the E[latex]\\flat[\/latex] major (tonic) chord before and after it, sharing the same bass note.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20113. The pedal six-four<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><strong><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image178.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image178.png\" width=\"476\" height=\"430\" alt=\"image of progression on Grand Staff in F major: one, four-six-four (pedal six-four), one\" class=\"aligncenter\" \/><\/a><\/strong><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.3.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">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.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T43 Intro to six-four chords (6:25)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/79tXarJT7t8?si=ItlAbewlBg7CJvoB\r\n\r\nThis video briefly summarizes the properties of all three triad positions ([pb_glossary id=\"1464\"]root position[\/pb_glossary], [pb_glossary id=\"1710\"]first inversion[\/pb_glossary], and [pb_glossary id=\"1711\"]second inversion[\/pb_glossary]) and explains in further detail the three uses of second inversion triads (aka \"six-four\" chords): the [pb_glossary id=\"3004\"]passing[\/pb_glossary], [pb_glossary id=\"3007\"]cadential[\/pb_glossary], and [pb_glossary id=\"3008\"]pedal six-four[\/pb_glossary] chords.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Seventh chords in second inversion, four-three ([latex]{}^4_3[\/latex]) chords, do not have the same versatility as six-four chords, but occasionally they do function in a pedal or passing capacity. The [pb_glossary id=\"3015\"]passing four-three[\/pb_glossary] functions similarly to the passing six-four. Compare the passing four-three in Example 26\u20114 with the passing six-four in Example 26\u20111 above.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20114. The passing four-three<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image179.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image179.png\" width=\"660\" height=\"437\" alt=\"image of progression on Grand Staff in G major: one, five-four-three (passing four-three), one-six\" class=\"aligncenter\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.4.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Six-four chords in context\"><\/a>Six-four chords in context<\/h1>\r\n<p class=\"import-Normal\">Example 26\u20115 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 [latex]\\hat{2}[\/latex] (E, or \u201cre\u201d), it creates stepwise motion as the progression repeats, connecting from \u201cmi\u201d (F[latex]\\sharp[\/latex]) to \u201cdo\u201d (D).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20115. The Cliks, \u201cHenry,\u201d 2:05\u20132:22<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image180.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image180.png\" width=\"1050\" height=\"119\" alt=\"image that reads: &quot;In D, repeat sign, one, four, one-six, five-six-four (boldface), repeat sign.&quot; Second line reads: &quot;bass, do, fa, mi, re&quot;\" class=\"alignleft\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.5-cliks.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/06Pvw38tXQ5W47Mc1mW8Sg?si=9f44cfff81964c64\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about 21st-century Canadian indie rock band <strong>the <\/strong><strong>Cliks<\/strong> by reading this <a class=\"rId386\" href=\"http:\/\/www.thecliks.com\/the-cliks.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a> from their official website.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 26\u20116 features an exciting cadential six-four chord in an orchestral context.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20116. Ludwig van Beethoven, Symphony no. 3, mvt. 1, near end<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image181.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image181.png\" width=\"1204\" height=\"848\" alt=\"image of score, annotation in last measure E-flat major: six\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image182.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image182.png\" width=\"1237\" height=\"904\" alt=\"image of score, first four measures labelled with E-flat major: two-six-five, one-six-four (boldfaced), five-seven, one\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.6-beethoven.mp3\"][\/audio]\r\n\r\nListen to the full movement, performed by the Berlin Philharmonic, conducted by Herbert von Karajan, on <a href=\"https:\/\/open.spotify.com\/track\/43MzxsDarmZyTsz8GhsSHC?si=9442f3da2a3b499e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId387\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 26\u20117 also features cadential six-four chords on the lyrics \u201c<em>coming to take you<\/em>\u201d and a little later on \u201c<em>dying to take you<\/em>.\u201d Listen for the following progression with these lyrics:<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20117. The Beatles, \u201cMagical Mystery Tour,\u201d 2:01\u20132:24<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image183.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image183.png\" width=\"825\" height=\"110\" alt=\"image that reads: &quot;in D, six, one-six four (boldfaced), five, one&quot;\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.7-beatles.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0qHMhBZqYb99yhX9BHcIkV?si=55777c0169ba42cc\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century English rock band <strong>the Beatles<\/strong> and their music by reading this <a class=\"rId388\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2223785\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Walter Everett.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 26\u20118 also features a cadential six-four in the key of B[latex]\\flat[\/latex] 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 [pb_glossary id=\"1977\"]plagal[\/pb_glossary] cadence.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20118. Susanne Sundf\u00f8r, \u201cWhen the Lord,\u201d 1:34\u20132:04<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.8-sundfor.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7Ako2M9AHTKfLImuEx92LG?si=bf44742030864ffd\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Norwegian singer-songwriter <strong>Susanne <\/strong><strong>Sundf\u00f8r<\/strong> (b. 1986) by reading this last.fm <a class=\"rId389\" href=\"https:\/\/www.last.fm\/music\/Susanne+Sundf%C3%B8r\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\nExamples 26\u20119 and 26\u201110 feature pedal six-four chords in the key of C major, using the following progression: I - <strong>IV[latex]{}^6_4[\/latex]<\/strong> - I - <strong>IV[latex]{}^6_4[\/latex]<\/strong>. Notice the static bass line, lingering on the tonic scale degree (\u201cdo\u201d), throughout the passages in both examples.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u20119. Night Ranger, \u201cSister Christian\u201d 0:50\u20131:02<\/p>\r\n\r\n<\/header>\r\n<div><\/div>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.9-night-ranger.mp3\"][\/audio]\r\n\r\nListen to full track on <a href=\"https:\/\/open.spotify.com\/track\/6LoSKNsYkRQbyuiReooMjG?si=ce48085ec1b64198\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American rock band <strong>Night Ranger <\/strong>by reading this <a class=\"rId390\" href=\"https:\/\/nightranger.com\/about\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a> from their official website.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u201110. Styx, \u201cBest of Times,\u201d 1:13\u20131:36<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.10-styx.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7GRUpcvSQM9HrnC2CjYPG4?si=7e484f8f1bb24f94\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century American rock band <strong>Styx<\/strong> by reading this <a class=\"rId391\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289495\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Ethen.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Similarly, Example 26\u201111 features a repeating progression with another pedal six-four chord, in E[latex]\\flat[\/latex] major: I - vi<sup>6<\/sup> - <strong>IV[latex]{}^6_4[\/latex]<\/strong>. Again, the bass is static, remaining on the tonic scale degree throughout this example.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u201111. Youth Lagoon, \u201cAfternoon,\u201d 0:48\u20131:04<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.11-youth-lagoon.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7LgW5lfcYQTUpLx8GpU4eB?si=7c05bcd9054d4078\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>Youth Lagoon<\/strong>, the solo project of American musician <strong>Trevor Powers<\/strong> (b. 1989), by reading <a class=\"rId392\" href=\"https:\/\/fatpossum.com\/collections\/youth-lagoon\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">this page<\/span><\/a> on the Fat Possum Records website.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T44 Six-four chords in context (7:00)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/YlZxs40H3s0?si=oOzwKcijFjkwLYK8\r\n\r\nThis video walks you through musical examples of the three six-four chord types ([pb_glossary id=\"3008\"]pedal[\/pb_glossary], [pb_glossary id=\"3007\"]cadential[\/pb_glossary], and [pb_glossary id=\"3004\"]passing[\/pb_glossary]) in music by Youth Lagoon, Night Ranger, Styx, Beethoven, the Beatles, and the Cliks.\r\n<div class=\"textbox shaded\">Listen to the examples featured in this video here: <a class=\"rId395\" href=\"https:\/\/open.spotify.com\/playlist\/5McmqOQJiJkmTUVoyM9ZPs?si=4881b6927d524702\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for second-inversion chords<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 26-1 Analysis with chords in all inversions\"><\/a>EXERCISE 26-1 Analysis with chords in all inversions<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 26-1 Analysis with chords in all inversions<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">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 ([pb_glossary id=\"3004\"]passing[\/pb_glossary], [pb_glossary id=\"3008\"]pedal[\/pb_glossary], or [pb_glossary id=\"3007\"]cadential[\/pb_glossary]) whenever they appear.<\/p>\r\n<p class=\"import-Normal\">For Worksheet example 26\u20111, 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?<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 26\u20111. Louise Reichardt, \u201cDie Blume der Blumen,\u201d mm. 1\u201310<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-1024x846.png\" alt=\"image of score with blanks for texture, cadences, key, and Roman numerals\" width=\"1024\" height=\"846\" class=\"alignnone wp-image-3578 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-Reichart.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by soprano Amy Pfrimmer, on <a href=\"https:\/\/open.spotify.com\/track\/19DMAvVefAc7zj9fl6RsXQ?si=24739992d5374356\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nView an English <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=1177718\" target=\"_blank\" rel=\"noopener\">translation<\/a> of the German text at leider.net.\r\n<p class=\"import-Normal\">Learn about German composer <strong>Louise Reichardt<\/strong> (1779\u20131826) by reading this <a class=\"rId394\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.23099\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Nancy B. Reich.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 26\u20112. Carl Maria von Weber, <em>Castor et Pollux<\/em>, op. 5, Theme from Variations on the Air de Ballet, mm. 1\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-1024x365.png\" alt=\"image of score\" width=\"1024\" height=\"365\" class=\"alignnone wp-image-5807 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-carl-maria-von-weber.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Alexander Paley, on <a href=\"https:\/\/open.spotify.com\/track\/6aPSUuzRaSZLdWZFmV7B0e?si=200d3366ef7547a4\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Carl Maria von Weber<\/strong> (1786\u20131826) by reading this <a class=\"rId393\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000380418\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael C. Tusa.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/02\/Ex26.1-Analysis-with-chords-in-all-inversions.pdf\" target=\"_blank\" rel=\"noopener\">Ex26.1 Analysis with chords in all inversions<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId395\" href=\"https:\/\/open.spotify.com\/playlist\/5McmqOQJiJkmTUVoyM9ZPs?si=4881b6927d524702\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for second inversion chords<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Harmonic dictation with inverted chords\"><\/a>Harmonic dictation with inverted chords<\/h1>\r\nOnce 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,<span><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\"> Appendix E<\/a>, nos. 7 and 11\u201317, <\/span>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.\r\n<h1><a id=\"Part writing with six-four chords in SATB texture\"><\/a>Part writing with six-four chords in SATB texture<\/h1>\r\n<p class=\"import-Normal\">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.<\/p>\r\n<p class=\"import-Normal\">Example 26\u201112 shows a model for part writing in four voices with a [pb_glossary id=\"3004\"]passing six-four[\/pb_glossary] chord. It has the following features:<\/p>\r\n\r\n<ul>\r\n \t<li>The common tone is kept in one voice<\/li>\r\n \t<li>All other voices move by step<\/li>\r\n \t<li>The voice that doubles the bass moves in contrary motion to the bass voice<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u201112. Part-writing model for the passing six-four<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image188.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image188.png\" width=\"526\" height=\"467\" alt=\"image of voice leading on Grand Staff. Key is C major. Roman numerals are: one, five-six-four, one-six. Soprano is C5 B4 C5, alto is E4 D4 C4, tenor stays on G3, and bass is C3, D3, E3\" class=\"aligncenter\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.12.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 26\u201113 shows a model for part writing with a [pb_glossary id=\"3007\"]cadential six-four[\/pb_glossary] chord. It has the following features:<\/p>\r\n\r\n<ul>\r\n \t<li>The common tone is kept in the bass voice and one other voice<\/li>\r\n \t<li>The other two parts move down by step<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u201113. Part-writing model for the cadential six-four<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image189.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image189.png\" width=\"402\" height=\"468\" alt=\"image of voice leading on Grand Staff. Key is C major. Roman numerals are one-six-four, five. Soprano stays on G4, alto is E4 to D4, tenor is C4 to B3, and bass stays on G2.\" class=\"aligncenter\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.13.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">Example 26\u201114 shows a model for part writing with a [pb_glossary id=\"3008\"]pedal six-four[\/pb_glossary] chord. The preparation and resolution of pedal six-four chords are equally important. It has the following features:<\/span><\/p>\r\n\r\n<ul>\r\n \t<li>The common tone is kept in the bass voice and one other voice<\/li>\r\n \t<li>The other two parts are prepared by step and resolve down by step<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 26\u201114. Part-writing model for the pedal six-four<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image190.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image190.png\" width=\"516\" height=\"446\" alt=\"image of voice leading on Grand Staff. Key is C major. Roman numerals are one, four-six-four, one. Soprano stays on C5, alto is E4 F4 E4, tenor is G3 A3 G3, and bass stays on C3.\" class=\"aligncenter\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.14.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 26-2 Part writing with chords in all inversions\"><\/a>EXERCISE 26-2 Part writing with chords in all inversions<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 26-2 Part writing with chords in all inversions<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">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).<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image191.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image191.png\" width=\"1430\" height=\"299\" alt=\"image of blank Grand Staff with symbols beneath: F minor: one-six-four, five. G major: one-six-four, five. E minor: one, four-six-four, one. B major: five, one-six-four, five. D major: one-six, five-six-four, one. G minor: one, five six-four, one-six.\" class=\"alignnone\" \/><\/a>\r\n<p class=\"import-Normal\">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:<\/p>\r\n\r\n<ul>\r\n \t<li>Spell chords correctly<\/li>\r\n \t<li>Use same-note or stepwise motion whenever possible<\/li>\r\n \t<li>Double the root in root-position chords (this is the bass note)<\/li>\r\n \t<li>Double the fifth in six-four chords (this is also the bass note)<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image192.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image192.png\" width=\"1086\" height=\"370\" alt=\"image of Grand Staff with opening chord: C3, C4, E4, G4. Key is labelled C major. Roman numerals beneath staff: one, four, one-six-four, five, one.\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">What type of six-four chord is used in this progression? ________________________<\/p>\r\n<p class=\"import-Normal\">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.<span style=\"margin-left: 26pt\"><\/span><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(1)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image193.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image193.png\" width=\"1163\" height=\"490\" alt=\"image of Grand Staff with starting soprano note A4 and bass note A2. Key is labelled as A minor. Roman numerals are: one, four-six-four, one, one-six-four, five, one.\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(2)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image194.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image194.png\" width=\"1220\" height=\"493\" alt=\"image of Grand Staff with starting soprano note E-flat 5 and bass note C3. Key is labelled as C minor. Roman numerals are: one, five-four-two, one-six, five-six-four, one, four-six-four, one.\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex26.2-Part-writing-with-chords-in-all-inversions.pdf\" target=\"_blank\" rel=\"noopener\">Ex26.2 Part writing with chords in all inversions<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 26<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/cadential-64\/\" target=\"_blank\" rel=\"noopener\">John Peterson's chapter on the cadential six-four<\/a> (Open Music Theory)\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/64-chords-as-prolongations\/\" target=\"_blank\" rel=\"noopener\">John Peterson's chapter on other six-four chords<\/a> (Open Music Theory)\r\n<p class=\"import-Normal\"><a href=\"https:\/\/youtu.be\/xh4_tIb9l-0?si=WE5N979EpoN0J8vY\" target=\"_blank\" rel=\"noopener\"><span class=\"instancename\">David Newman's \"Second Inversions Song\"<\/span><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"chords-in-second-inversion\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 26<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>The primary ways <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_1711\">second-inversion<\/a> chords are used in musical contexts<\/li>\n<li>How to identify the function of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_4662\">six-four (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-b8c2a618bbc27db5495793170a3088d4_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#52;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>) chords<\/a>, aurally and in scores<\/li>\n<li>How to voice and connect second-inversion triads in four-part textures<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Second-inversion chords<\/h1>\n<p class=\"import-Normal\">Similar to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_1710\">first-inversion<\/a> chords, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_1711\">second-inversion<\/a> or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_4662\">six-four (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-b8c2a618bbc27db5495793170a3088d4_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#52;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>) chords<\/a> are often used to create more interesting chord progressions and bass lines. There are three primary types of six-four chords: the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3004\">passing six-four<\/a>, the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3007\">cadential six-four<\/a>, and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3008\">pedal six-four<\/a>.<\/p>\n<p class=\"import-Normal\">The primary characteristic of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3004\">passing six-four<\/a>, illustrated in Example 26\u20111, involves the bass note of the six-four chord, which is prepared and resolved <span>by step in the same direction, either up (as in this example) or down.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20111. The passing six-four<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image176.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image176.png\" width=\"541\" height=\"415\" alt=\"image of progression on Grand Staff in G major: one, five-six-four, one-six\" class=\"aligncenter\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-652-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Unlike the passing six-four, which can be any diatonic chord (flexible harmonic function) within a key, the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3007\">cadential six-four<\/a> expresses <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_4979\">dominant function<\/a> 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 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201csol\u201d). In four-voice writing, the bass note and one other voice stay on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> when connecting to the V chord, creating <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_2458\">oblique<\/a> motion with two of the upper voices that move down by step. Example 26\u20112 shows an example of the cadential six-four chord used in E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20112. The cadential six-four<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image177.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image177.png\" width=\"939\" height=\"444\" alt=\"image of progression on Grand Staff in E-flat major: one, four, one-six-four (cadential six-four), five, one\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3008\">pedal six-four<\/a> 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\u20113 shows a pedal six-four in the key of F major, in this case a second-inversion B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (subdominant) triad, which embellishes the E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (tonic) chord before and after it, sharing the same bass note.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20113. The pedal six-four<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><strong><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image178.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image178.png\" width=\"476\" height=\"430\" alt=\"image of progression on Grand Staff in F major: one, four-six-four (pedal six-four), one\" class=\"aligncenter\" \/><\/a><\/strong><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.3.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">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.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T43 Intro to six-four chords (6:25)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T43 Intro to Six Four Chords\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/79tXarJT7t8?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video briefly summarizes the properties of all three triad positions (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_1464\">root position<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_1710\">first inversion<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_1711\">second inversion<\/a>) and explains in further detail the three uses of second inversion triads (aka &#8220;six-four&#8221; chords): the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3004\">passing<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3007\">cadential<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3008\">pedal six-four<\/a> chords.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Seventh chords in second inversion, four-three (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-24f94787486117b89343137d4f6984a8_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#52;&#95;&#51;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>) chords, do not have the same versatility as six-four chords, but occasionally they do function in a pedal or passing capacity. The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3015\">passing four-three<\/a> functions similarly to the passing six-four. Compare the passing four-three in Example 26\u20114 with the passing six-four in Example 26\u20111 above.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20114. The passing four-three<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image179.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image179.png\" width=\"660\" height=\"437\" alt=\"image of progression on Grand Staff in G major: one, five-four-three (passing four-three), one-six\" class=\"aligncenter\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.4.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Six-four chords in context<\/h1>\n<p class=\"import-Normal\">Example 26\u20115 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 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (E, or \u201cre\u201d), it creates stepwise motion as the progression repeats, connecting from \u201cmi\u201d (F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>) to \u201cdo\u201d (D).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20115. The Cliks, \u201cHenry,\u201d 2:05\u20132:22<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image180.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image180.png\" width=\"1050\" height=\"119\" alt=\"image that reads: &quot;In D, repeat sign, one, four, one-six, five-six-four (boldface), repeat sign.&quot; Second line reads: &quot;bass, do, fa, mi, re&quot;\" class=\"alignleft\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.5-cliks.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.5-cliks.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.5-cliks.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/06Pvw38tXQ5W47Mc1mW8Sg?si=9f44cfff81964c64\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about 21st-century Canadian indie rock band <strong>the <\/strong><strong>Cliks<\/strong> by reading this <a class=\"rId386\" href=\"http:\/\/www.thecliks.com\/the-cliks.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a> from their official website.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 26\u20116 features an exciting cadential six-four chord in an orchestral context.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20116. Ludwig van Beethoven, Symphony no. 3, mvt. 1, near end<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image181.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image181.png\" width=\"1204\" height=\"848\" alt=\"image of score, annotation in last measure E-flat major: six\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image182.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image182.png\" width=\"1237\" height=\"904\" alt=\"image of score, first four measures labelled with E-flat major: two-six-five, one-six-four (boldfaced), five-seven, one\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.6-beethoven.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.6-beethoven.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.6-beethoven.mp3<\/a><\/audio><\/p>\n<p>Listen to the full movement, performed by the Berlin Philharmonic, conducted by Herbert von Karajan, on <a href=\"https:\/\/open.spotify.com\/track\/43MzxsDarmZyTsz8GhsSHC?si=9442f3da2a3b499e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId387\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 26\u20117 also features cadential six-four chords on the lyrics \u201c<em>coming to take you<\/em>\u201d and a little later on \u201c<em>dying to take you<\/em>.\u201d Listen for the following progression with these lyrics:<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20117. The Beatles, \u201cMagical Mystery Tour,\u201d 2:01\u20132:24<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image183.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image183.png\" width=\"825\" height=\"110\" alt=\"image that reads: &quot;in D, six, one-six four (boldfaced), five, one&quot;\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.7-beatles.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.7-beatles.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.7-beatles.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0qHMhBZqYb99yhX9BHcIkV?si=55777c0169ba42cc\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century English rock band <strong>the Beatles<\/strong> and their music by reading this <a class=\"rId388\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2223785\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Walter Everett.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 26\u20118 also features a cadential six-four in the key of B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> 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 <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_1977\">plagal<\/a> cadence.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20118. Susanne Sundf\u00f8r, \u201cWhen the Lord,\u201d 1:34\u20132:04<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.8-sundfor.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.8-sundfor.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.8-sundfor.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7Ako2M9AHTKfLImuEx92LG?si=bf44742030864ffd\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Norwegian singer-songwriter <strong>Susanne <\/strong><strong>Sundf\u00f8r<\/strong> (b. 1986) by reading this last.fm <a class=\"rId389\" href=\"https:\/\/www.last.fm\/music\/Susanne+Sundf%C3%B8r\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<p>Examples 26\u20119 and 26\u201110 feature pedal six-four chords in the key of C major, using the following progression: I &#8211; <strong>IV<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-b8c2a618bbc27db5495793170a3088d4_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#52;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/><\/strong> &#8211; I &#8211; <strong>IV<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-b8c2a618bbc27db5495793170a3088d4_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#52;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/><\/strong>. Notice the static bass line, lingering on the tonic scale degree (\u201cdo\u201d), throughout the passages in both examples.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u20119. Night Ranger, \u201cSister Christian\u201d 0:50\u20131:02<\/p>\n<\/header>\n<div><\/div>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.9-night-ranger.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.9-night-ranger.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.9-night-ranger.mp3<\/a><\/audio><\/p>\n<p>Listen to full track on <a href=\"https:\/\/open.spotify.com\/track\/6LoSKNsYkRQbyuiReooMjG?si=ce48085ec1b64198\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American rock band <strong>Night Ranger <\/strong>by reading this <a class=\"rId390\" href=\"https:\/\/nightranger.com\/about\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a> from their official website.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u201110. Styx, \u201cBest of Times,\u201d 1:13\u20131:36<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.10-styx.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.10-styx.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.10-styx.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7GRUpcvSQM9HrnC2CjYPG4?si=7e484f8f1bb24f94\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century American rock band <strong>Styx<\/strong> by reading this <a class=\"rId391\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289495\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Ethen.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Similarly, Example 26\u201111 features a repeating progression with another pedal six-four chord, in E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major: I &#8211; vi<sup>6<\/sup> &#8211; <strong>IV<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-b8c2a618bbc27db5495793170a3088d4_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#52;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/><\/strong>. Again, the bass is static, remaining on the tonic scale degree throughout this example.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u201111. Youth Lagoon, \u201cAfternoon,\u201d 0:48\u20131:04<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.11-youth-lagoon.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.11-youth-lagoon.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.11-youth-lagoon.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7LgW5lfcYQTUpLx8GpU4eB?si=7c05bcd9054d4078\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>Youth Lagoon<\/strong>, the solo project of American musician <strong>Trevor Powers<\/strong> (b. 1989), by reading <a class=\"rId392\" href=\"https:\/\/fatpossum.com\/collections\/youth-lagoon\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">this page<\/span><\/a> on the Fat Possum Records website.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T44 Six-four chords in context (7:00)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T44 Six Four Chords in Context\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/YlZxs40H3s0?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video walks you through musical examples of the three six-four chord types (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3008\">pedal<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3007\">cadential<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3004\">passing<\/a>) in music by Youth Lagoon, Night Ranger, Styx, Beethoven, the Beatles, and the Cliks.<\/p>\n<div class=\"textbox shaded\">Listen to the examples featured in this video here: <a class=\"rId395\" href=\"https:\/\/open.spotify.com\/playlist\/5McmqOQJiJkmTUVoyM9ZPs?si=4881b6927d524702\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for second-inversion chords<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 26-1 Analysis with chords in all inversions<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 26-1 Analysis with chords in all inversions<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">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 (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3004\">passing<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3008\">pedal<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3007\">cadential<\/a>) whenever they appear.<\/p>\n<p class=\"import-Normal\">For Worksheet example 26\u20111, 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?<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 26\u20111. Louise Reichardt, \u201cDie Blume der Blumen,\u201d mm. 1\u201310<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-1024x846.png\" alt=\"image of score with blanks for texture, cadences, key, and Roman numerals\" width=\"1024\" height=\"846\" class=\"alignnone wp-image-3578 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-1024x846.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-300x248.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-768x635.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-1536x1269.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-65x54.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-225x186.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt-350x289.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-reichardt.png 1807w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-Reichart.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-Reichart.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.1-Reichart.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by soprano Amy Pfrimmer, on <a href=\"https:\/\/open.spotify.com\/track\/19DMAvVefAc7zj9fl6RsXQ?si=24739992d5374356\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>View an English <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=1177718\" target=\"_blank\" rel=\"noopener\">translation<\/a> of the German text at leider.net.<\/p>\n<p class=\"import-Normal\">Learn about German composer <strong>Louise Reichardt<\/strong> (1779\u20131826) by reading this <a class=\"rId394\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.23099\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Nancy B. Reich.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 26\u20112. Carl Maria von Weber, <em>Castor et Pollux<\/em>, op. 5, Theme from Variations on the Air de Ballet, mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-1024x365.png\" alt=\"image of score\" width=\"1024\" height=\"365\" class=\"alignnone wp-image-5807 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-1024x365.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-300x107.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-768x274.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-1536x547.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-2048x730.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-65x23.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-225x80.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-rev-350x125.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-carl-maria-von-weber.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-carl-maria-von-weber.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-26.2-carl-maria-von-weber.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Alexander Paley, on <a href=\"https:\/\/open.spotify.com\/track\/6aPSUuzRaSZLdWZFmV7B0e?si=200d3366ef7547a4\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Carl Maria von Weber<\/strong> (1786\u20131826) by reading this <a class=\"rId393\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000380418\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael C. Tusa.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/02\/Ex26.1-Analysis-with-chords-in-all-inversions.pdf\" target=\"_blank\" rel=\"noopener\">Ex26.1 Analysis with chords in all inversions<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId395\" href=\"https:\/\/open.spotify.com\/playlist\/5McmqOQJiJkmTUVoyM9ZPs?si=4881b6927d524702\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for second inversion chords<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Harmonic dictation with inverted chords<\/h1>\n<p>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,<span><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\"> Appendix E<\/a>, nos. 7 and 11\u201317, <\/span>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.<\/p>\n<h1><a><\/a>Part writing with six-four chords in SATB texture<\/h1>\n<p class=\"import-Normal\">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.<\/p>\n<p class=\"import-Normal\">Example 26\u201112 shows a model for part writing in four voices with a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3004\">passing six-four<\/a> chord. It has the following features:<\/p>\n<ul>\n<li>The common tone is kept in one voice<\/li>\n<li>All other voices move by step<\/li>\n<li>The voice that doubles the bass moves in contrary motion to the bass voice<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u201112. Part-writing model for the passing six-four<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image188.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image188.png\" width=\"526\" height=\"467\" alt=\"image of voice leading on Grand Staff. Key is C major. Roman numerals are: one, five-six-four, one-six. Soprano is C5 B4 C5, alto is E4 D4 C4, tenor stays on G3, and bass is C3, D3, E3\" class=\"aligncenter\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.12.mp3?_=14\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.12.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.12.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 26\u201113 shows a model for part writing with a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3007\">cadential six-four<\/a> chord. It has the following features:<\/p>\n<ul>\n<li>The common tone is kept in the bass voice and one other voice<\/li>\n<li>The other two parts move down by step<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u201113. Part-writing model for the cadential six-four<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image189.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image189.png\" width=\"402\" height=\"468\" alt=\"image of voice leading on Grand Staff. Key is C major. Roman numerals are one-six-four, five. Soprano stays on G4, alto is E4 to D4, tenor is C4 to B3, and bass stays on G2.\" class=\"aligncenter\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.13.mp3?_=15\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.13.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.13.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">Example 26\u201114 shows a model for part writing with a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_652_3008\">pedal six-four<\/a> chord. The preparation and resolution of pedal six-four chords are equally important. It has the following features:<\/span><\/p>\n<ul>\n<li>The common tone is kept in the bass voice and one other voice<\/li>\n<li>The other two parts are prepared by step and resolve down by step<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 26\u201114. Part-writing model for the pedal six-four<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image190.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image190.png\" width=\"516\" height=\"446\" alt=\"image of voice leading on Grand Staff. Key is C major. Roman numerals are one, four-six-four, one. Soprano stays on C5, alto is E4 F4 E4, tenor is G3 A3 G3, and bass stays on C3.\" class=\"aligncenter\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-652-16\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.14.mp3?_=16\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.14.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-26.14.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 26-2 Part writing with chords in all inversions<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 26-2 Part writing with chords in all inversions<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">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).<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image191.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image191.png\" width=\"1430\" height=\"299\" alt=\"image of blank Grand Staff with symbols beneath: F minor: one-six-four, five. G major: one-six-four, five. E minor: one, four-six-four, one. B major: five, one-six-four, five. D major: one-six, five-six-four, one. G minor: one, five six-four, one-six.\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">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:<\/p>\n<ul>\n<li>Spell chords correctly<\/li>\n<li>Use same-note or stepwise motion whenever possible<\/li>\n<li>Double the root in root-position chords (this is the bass note)<\/li>\n<li>Double the fifth in six-four chords (this is also the bass note)<\/li>\n<\/ul>\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image192.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image192.png\" width=\"1086\" height=\"370\" alt=\"image of Grand Staff with opening chord: C3, C4, E4, G4. Key is labelled C major. Roman numerals beneath staff: one, four, one-six-four, five, one.\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">What type of six-four chord is used in this progression? ________________________<\/p>\n<p class=\"import-Normal\">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.<span style=\"margin-left: 26pt\"><\/span><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(1)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image193.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image193.png\" width=\"1163\" height=\"490\" alt=\"image of Grand Staff with starting soprano note A4 and bass note A2. Key is labelled as A minor. Roman numerals are: one, four-six-four, one, one-six-four, five, one.\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(2)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image194.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image194.png\" width=\"1220\" height=\"493\" alt=\"image of Grand Staff with starting soprano note E-flat 5 and bass note C3. Key is labelled as C minor. Roman numerals are: one, five-four-two, one-six, five-six-four, one, four-six-four, one.\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex26.2-Part-writing-with-chords-in-all-inversions.pdf\" target=\"_blank\" rel=\"noopener\">Ex26.2 Part writing with chords in all inversions<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 26<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/cadential-64\/\" target=\"_blank\" rel=\"noopener\">John Peterson&#8217;s chapter on the cadential six-four<\/a> (Open Music Theory)<\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/64-chords-as-prolongations\/\" target=\"_blank\" rel=\"noopener\">John Peterson&#8217;s chapter on other six-four chords<\/a> (Open Music Theory)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/youtu.be\/xh4_tIb9l-0?si=WE5N979EpoN0J8vY\" target=\"_blank\" rel=\"noopener\"><span class=\"instancename\">David Newman&#8217;s &#8220;Second Inversions Song&#8221;<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_652_1711\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_1711\"><div tabindex=\"-1\"><p>position of a chord when its fifth is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_4662\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_4662\"><div tabindex=\"-1\"><p>triad in second inversion, meaning the fifth of the chord is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_1710\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_1710\"><div tabindex=\"-1\"><p>position of a chord when its third is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_3004\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_3004\"><div tabindex=\"-1\"><p>type of second inversion triad whose bass note is preceded by step and resolved by step in the same direction<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_3007\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_3007\"><div tabindex=\"-1\"><p>type of second inversion triad that has scale degree 5 in the bass and resolves to a dominant chord, extending dominant function, usually at a cadence<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_3008\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_3008\"><div tabindex=\"-1\"><p>type of second inversion triad with an embellishing function by keeping the bass note of the chord preceding and following it<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_4979\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_4979\"><div tabindex=\"-1\"><p>the most unstable tonal function characterized by tension, setting up a listener\u2019s expectation to hear tonic as a resolution; chords with dominant function include the dominant triad, dominant seventh, and chords built on the leading tone<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_2458\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_2458\"><div tabindex=\"-1\"><p>motion in which one part moves, while the other stays on the same pitch<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_1464\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_1464\"><div tabindex=\"-1\"><p>designation for chords whose lowest note is also the root of the chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_3015\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_3015\"><div tabindex=\"-1\"><p>seventh chord in second inversion whose bass note is preceded by step and resolves by step in the same direction<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_652_1977\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_652_1977\"><div tabindex=\"-1\"><p>cadence type that features subdominant to tonic; abbreviated as \"PC\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":26,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-652","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/652","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":72,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/652\/revisions"}],"predecessor-version":[{"id":7078,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/652\/revisions\/7078"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/652\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=652"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=652"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=652"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=652"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}