Chapter Nine Triads in Second Inversion



Download 27.17 Kb.
Date02.05.2018
Size27.17 Kb.
#47222
Chapter Nine

Triads in Second Inversion



Introduction

  • It is only partly true that second inversion triads are used the same way as first inversion

    • Bass arpeggiations

    • Substitutes for the root postion

  • Second inversion triads are NOT used as substitutes for the root position because….

  • Second inversion is considered to be a much less stable sonority than either of the other two bass positions

  • For centuries, P4 is considered a dissonance if the lowest voice in the texture was sounding the bottom pitch of the P4

  • Diminished and augmented triads would also contain dissonant intervals above the bass (an +4 and a o4, respectively)

  • It is used in bass arpeggiations as well as in several other contexts


Correct Implementation of the Chords


  • Bass Arpeggiation and the Melodic Bass

    • Six-four chords may come about through a bass arpeggiation involving a root position, a first inversion triad, or both

    • Take into account such factors as metric placement, duration, register

    • Can be formed through a melodic bass (bass is usually in a supporting role)




  • Cadential Six-Four

    • I – V progression (cadential six-four)

    • I does not represent a tonic triad, even though it contains all the notes of a tonic triad

    • See example 9-4, the chord progression is I-ii-V-I, NOT I-ii-I-V-I

    • Some instructors prefer cadential six-four written as V rather than I – V because the pair of chords together have a dominant function

    • The voice leading into and away from the cadential I is usually smooth

    • The resolution of the I to V (or V7)

      • 1st move down to 7th

      • 3rd move down to 2nd

    • Cadential I occurs either on a stronger beat than the V, or on a stronger portion of the beat

    • In triple meter (e.g. time), the I will frequently appear on the normally week second beat if the V occurs on the third beat

    • Most dramatic demonstration of the delaying character of the cadential I is found at the cadenza of many solo concertos. (Orchestra stops on I  soloist cadenza  reaches V chord at the end of the cadenza as a single note or a trill  simultaneously with the orchestra resolve to I)


  • The Passing Six-Four

    • Second inversion triads are frequently encountered harmonizing the middle note of a three-note scalar figure in the bass

    • The figure may be ascending or descending

    • Any triad may be used as a passing six-four, BUT……

    • V or I are most commonly used

    • Falls on the weak beat

    • Typically features smooth voice leading

    • Some theorists prefer not to assign a roman numeral to passing six-fours because of their weak harmonic function

    • Voice exchange (chapter 7, 321/123) and parallel sixths are commonly found in passing six-four chords




  • The Pedal Six-Four

    • One way to elaborating a static root position triad is to move the 3rd and 5th of the triad up by step and then back down to their original positions. The sonority that results is a six-four chord

      • I – V – I change to I (IV I – V (I ) V - I




  • Some theorists call it an embellishing or stationary six-four

  • The roman numeral of a pedal six-four is put in parentheses to indicate its weak harmonic function, for example 1 – (IV) – I or V – (I ) – V

  • Exceptionally, the bass may move after the six-four chord and before the return of the root position triad (example 9-12)

  • Pedal six-fours are occasionally seen in lead-sheet notation (example B – E/B – B )


Part Writing for Second Inversion Triads


  • In a four-part texture

      • the bass (5th of the chord) should be doubled

      • The other voices generally move as smoothly as possible- often by step- both into and out of the six-four chord

  • In a three-part texture

      • it is generally best to have all members of the triad present

      • Sometimes the root or 3rd is omitted, in which case the 5th is doubled

Directory: site -> handlers

Download 27.17 Kb.

Share with your friends:




The database is protected by copyright ©ininet.org 2024
send message

    Main page