MUSIC THEORY

Mod 11

• Subject of the Day:  Second Inversion
• Reading Assignment: Textbook; pp. 140-151
• Written Assignment: Workbook; P. 75 (B and C)
• Semester Schedule

For centuries (approx. 1500-1820) the interval of a perfect fourth involving the lowest voice was considered dissonant.  Therefore, during this Common Practice period, second inversion chords were used only under specific circumstances.  Our study of second inversion chords will concentrate on the restrictive uses of  this chord.  There are only four conditions under which the six-four chord can be used; their labels are Arpeggiated, Cadential, Passing, and Pedal.
 

Arpeggiated  Six-Four
 

If another position of the same chord sounds first, the second inversion of the same chord can follow.

Click on each measure separately to hear a demonstration of the arpeggiated six-four.

The cadential six-four occurs at the cadence.  It occurs on the strong beat and serves as a momentary delay of V.

Click on the example to hear a demonstration of the cadential six-four.

Passing Six-Four
 

The passing six-four harmonizes the middle note of a 3 note scale in the bass.  It usually occors on the weak beat.

Click on the example to hear a demonstration of the passing six-four.

The pedal six-four has a three repeated note pattern in the bass.  While this bass note remains stationary, the harmonies and voices move above it.

Click on the example to hear a demonstration of the pedal six-four.

For further information on second inversion chords visit this web site http://www.musictheory.net/lessons/html/id42_en.html

If you still have questions, contact Dr. Bartolotta at wbartolo@odu.edu.