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Chapter 16

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 (2 nd inversion) has dissonant 4 th which must be approached and resolved correctly

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Chapter 16

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  1. The 6/4 and Other Linear Chords Chapter 16

  2. 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 viio6 between a I and I6 or a neighboring IV between two tonic triads

  3. 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

  4. 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

  5. Accented/Cadential 6/4 I6 IV V I I I6 IV V I 6/4 5/3 Unintended //5th

  6. 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)

  7. Accented/Cadential 6/4 8 8 7 8 Cadential 6/4 indicated by Roman numeral as part of the suspended dominant function cm: i6 iv6 i

  8. 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

  9. 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

  10. 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

  11. 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

  12. The Passing 6/4 Chord Eb: I6 (6/4) I D: IV6 6/4 ii6/5 V7 I

  13. 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 5 – 6 – 5 4 3 voice leading progression over a stationary bass note. On both accounts the 6/4 chord is marked only with figured bass numerals.

  14. 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 RH is a chromatic passing tone C: 5/3 5/3 6/4 (!) 5/3

  15. 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.

  16. 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

  17. 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)

  18. 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

  19. 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

  20. 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

  21. 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

  22. 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

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