You are on page 1of 22

The 6/4 and Other Linear Chords

CHAPTER 16
The 6/4 and Other Linear Chords

Root & First Inversion Triads (5/3 & 6/3)


can be used freely all consonant
intervals
6/4 (2nd inversion) has dissonant 4th
which must be approached and resolved
correctly
6/4 functions linearly comes between more
stable harmonies; much like a vii o6 between a
I and I6 or a neighboring IV between two tonic
triads
Types of 6/4 Chords
Accented Cadential
Occurs at authentic or half cadence
Unaccented Passing
Between two harmonies
Sustained or Pedal
Over which a neighboring or passing chord
occurs
Arpeggiated
The Accented/Cadential
6/4
Useful in the progression IV-V-I or ii6-V-I
to help alleviate parallel 5ths
Built on the 5th of tonic; however more
closely attributed to a dominant harmony
because it aurally lacks the stability of
tonic
Functions as an expansion of dominant
harmony
Accented/Cadential 6/4

I6 IV V I I I6 IV V I

Unintended //5th 6/4 5/3


Accented/Cadential 6/4
Accented 6/4 followed by root position
dominant chord
Dissonant 4th prepared by common tone
from the previous IV and resolves
downward by step (typical suspension)
Frequently appears at an authentic
cadence
Soprano outlines (^4 -^3-^2-^1) but may
appear as (^8-^8-^7-^8)
Accented/Cadential 6/4
8 8 7 8

Cadential 6/4
indicated by
Roman numeral
as part of the
suspended
dominant
cm: function
i6 iv6 i
Accented/Cadential 6/4
Dominant 6/4 to 5/3 sometimes may
occur as a half cadence, with the final
triad of the authentic cadence omitted
This occurs frequently in slow
movements of the Classical period
Accented/Cadential 6/4
In partwriting
The bass note of the 6/4 is almost always
doubled
This doubled note (^5) may remain or
descend to ^4 (of a V4/2) on its way to ^3
Elaborating the Cadential 6/4
No matter the elaboration, the voice
leading should always remain constant

A: ii6 ( 6/5 6/4 5/4 5/3 ) I


V
The Passing 6/4 Chord
May occurs as a passing sonority between
chords of similar function
Invariably occurs on an unstressed beat
Non-essential linear chord
Passing V6/4 (2nd inversion) may function as a
passing sonority linking a root-position tonic to a
first-inversion tonic; I (V6/4) I6 or the reverse
Commonly used to link two pre-dominant chords
with stepwise motion
Most common: IV6 (6/4) ii6/5
The Passing 6/4 Chord

Eb: I6 (6/4) I

D: IV6 6/4 ii6/5 V7 I


The Pedal 6/4 Chord
Features a sustained bass note over
which the dissonant 4th may occur in
either neighboring or passing motion

The neighboring version in


the first example shows the
565
3 4 3 voice leading
progression over a
stationary bass note.
On both accounts the 6/4
chord is marked only
with figured bass
numerals.
The Pedal 6/4 Chord
Be careful when identifying the note that
functions as the actual bass in
accompanimental parts
In most cases the first bass note of the
measure of figuration is the real bass
The recurring bass
notes in m. 1-2 are
not 6/4s. The bass
note is sustained
bass and root!
Measure 3 is a legit
6/4. The F# in the
C: 5/3 5/3 6/4 (!) RH is a chromatic
5/3 passing tone
The Pedal 6/4 Chord

In this case the dissonant 4th appears as part of a three-chord


passing progression over the sustained or pedal bass.
The Arpeggiated 6/4
Chord
Created by having a broken chord or
arpeggiation in the bass
Usually extends over a series of
measures rather than just one
Other Treatments of the
6/4
See text pg. 278 279 for further
examples and treatments of the 6/4
See especially the Beethoven (16.11b)
and Scarlatti (16.11d)
Cadenzas and the 6/4
Italian for cadence
Written and performed for a solo instrument in a
concerto; typical of Classical period works
Usually virtuosic in nature; usually on thematic
material from earlier in the movement
Usually begins with an extended 6/4 followed
by improvisations and movement toward the
dominant
A long trill on ^2 usually leads in to an
orchestral tutti on the tonic harmony
6/4 Chords in Harmonizations
Cadential 6/4 : 4-3-2-1, 8-8-7-8, or 2-8-7-8
when the second chord is 6/4

Passing 6/4: 7-(8)-2, prolonging dominant, or


4-(3)-2 & 6-(5)-4, prolonging pre-dominant

Pedal, neighboring 6/4: 3-(4)-3 or 5-(6)-5


over tonic harmony or passing 2-(3)-4 over
dominant harmony
Other Diatonic Linear Chords
Consonant Passing I
Used when //5th are looming
Helps link IV- V; stepwise in upper voice

V IV progression (inherently retro)


Interrupted the tonic to dominant motion
Appears frequently in sequences and in a
standard blues progression
Usually appears in major modes
Other Diatonic Linear Chords
V- IV Progression (continued)
Sounds like a plagal cadence
Delays tonic by rerouting it through the sub-dominant
Frequent tool of Romantic composers

Apparent Seventh Chords


Arise out of linear voice leading
Incorrectly analyzed as ii4/2 or ii6/5 ; they do not
resolve properly (8-7) or progress to dominant
When analyzing just provide the figured bass in
parentheses
Other Diatonic Linear

Chords
Interplay of Harmony and Melodic Dissonance
Usually the origin of weirdo passing harmonies
Confusion comes with embellishing tones played
simultaneously with reiterated chords
Do not give these chords Roman numerals or even
begin to analyze them

You might also like