SECOND INVERSIONS OF TRIADS.

1 . A chord i s said to be in its second inversion when the 5th from the rmt is in the bass. The indication is a " c " after the root number,and the figuring is f .

2. Thc use of second inversiuns is restricted, and only two possibilities need to bc considered in elementary work, viz. Cadential and Passing.
. ..

Only two are possible

the m o m

- Ic and IVc, the former beinp hI

rrol he wwte strongly accented thun 1hc : . The bass of the b y lea* / r m un inucrs:on 0 1anulhsr chord.

:m

mrtsl

y not be n@prmckcd

Ex. 61.

llb

Ic V

(a)

Bass approached by leap itom a root position,

weaker than

: .

(b) Bass approache&by step from a 1st inversion,

(c) Rass

$ weaker than t.

approached by leap from 1st inversion of s u m chord, f and hoth weak.

(d)Bass approached by leap from its own root position, weaker than . :
(c)

Bad ; bass approached by leap from 1st i t l w s i o s of a

chrd.

But see Ex. 63 (c) and

(4

4.

Uses

OF

(a) As

first chord of a strong to weak half-clae, Ic-V.*

IC CADENTIAL.

Ex. 62.

(The minims C-B are relatively strong and weak). (b) To precede Va in a perfect or an interrupted cadence, provided the rhythm conforms to the rule given in para. 3.

The appropriate melodic endings are as shown by the figures over the soprano. Note the arrangement of the upper parts at (c) and (d). (c) Dominant of scale in soprano or bass, lasting two or more beats, at a half or full close, should be harmonised as Ic-V, to avoid too long a halt.

Ex. 64.

(a)

Here both Soprano and Bass last four beats, harmonised with two twobeat chords. If they were three beats long, the rhythm would be as at (b). (c) Here the bass G lasts two beats, so Ic-V is appropriate.
N.B.-In this mnnection remember that the 3rd beat o f a four-beat bor is strong cornparad with the 4th k t , but w-k as compared with the 1st.

5. fVc Cadentad may be used to dwmate a perfect or a plagal cadme, prwided the final tonic bags lasts at least three beats.

Ex. 65.

(a) Decorated perfect cadence. (b) Decorated plagal cadence. Note

the rhythm in the final bar* Minim followed by crotchet would sound too " cut off."

6. THE PASSING : Only Ic and Vc are possible. The b a s is approached and quittcd by step, and the t is always on a weak beat. Tc lies between IVa and f Vb or v i ~ s versa ; Vc between Ia and Ib or vice versa. Ex. 66.

I
N d c : (1) (a) and (6)show ~isefulharmonisations for the 4th. 5th, and 6th notes nf the scale in eithm soprano or bass, provirdd & 51h i s rff~cccb#lcrl. (c) and (d) may (and preferably should) replace the progressions dealt with in chap. 4, paras. 12 and 20, fiovidd that the m U c h d 01th three i s wnacceulad. If t h i s chard is accented, VIIb must k u d , as heretofure. Compare (a)with (b) in the following :

Ex.

7. This exhausts the elementary uses of the f. The student should note that when he introduces a it should be explairiable as either cadential or passing. If this is not possible, its usc at any given point must be avoided, and
some other chord substituted.

Exmcises : (I) Add S. A.

T .

3 Use the appropriate passing ' 4'

5U s e IVc-I 2.
to ddcbrate

" Long dominant " at half-clost ; use lc-V. " Long dominant " at full close ; use Ic-V.
this plagal cadence.

Add A. T.B

t Halfclaae

"k

g dominant " at halfclmc ; use Ic-V strong to weak ; u s It-V

35