CHAPTER 16The 6/4 and Other Linear Chords

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 correctly6/4 functions linearly – comes between more

stable harmonies; much like a viio6 between a I and I6 or a neighboring IV between two tonic triads

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

6/4 5/3Unintended //5th

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

cm: i6 iv6 i

8 8 7 8

Cadential 6/4 indicated by Roman numeral as part of the suspended dominant function

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 motionMost 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 5 – 6 – 53 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 partsIn most cases the first bass note of the

measure of figuration is the real bass

C: 5/3 5/3 6/4 (!) 5/3

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

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 loomingHelps link IV- V; stepwise in upper voice

V – IV progression (inherently retro)Interrupted the tonic to dominant motionAppears frequently in sequences and in a

standard blues progressionUsually appears in major modes

Other Diatonic Linear Chords V- IV Progression (continued)

Sounds like a plagal cadenceDelays tonic by rerouting it through the sub-dominantFrequent tool of Romantic composers

Apparent Seventh ChordsArise out of linear voice leadingIncorrectly analyzed as ii4/2 or ii6/5 ; they do not

resolve properly (8-7) or progress to dominantWhen analyzing just provide the figured bass in

parentheses

Other Diatonic Linear Chords

Interplay of Harmony and Melodic DissonanceUsually 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