Episode #25 is all about 6/4 chords. There are four types of examples you could identify in music.
Episode #25 is all about 6/4 chords. There are four types of examples you could identify in music: cadential (1:03) neighbor and pedal tones (1:47) passing (3:26) and arpeggiated (4:21).
Question of the day (5:23):
We still need voice leading rules when analyzing 6/4 chords. What century do those rules originate from?
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Hi and welcome to the APsolute Recap: Music Theory Edition. Today’s episode will recap 6/4 chords
Lets Zoom out:
We’re in Unit 5 - Harmony and Voice Leading II: Chord Progressions and Predominant Function
Topic 5.6 and 5.7
Our Big idea is pitch.
Introducing, for not the first time, actually not the first time, on this podcast, the 6/4 chord! You may also know this type of chord as as a second inversion triad, starting on any scale degree. The 6/4 chord can be found in these forms: cadiential, neighbor/pedal, passing tones, and arpeggios.
Lets Zoom in:
A cadential 6/4 chord is when a second inversion appears with the dominant chord, and specifically the fifth scale degree in the bass line. In this case, the 6 and the 4 must resolve in a step down to 5 and 3. Cadential 6/4 chords occur on a strong beat. This example is I, IV, V6/4 I. The V6/4 might sound like I 6/4 but is labeled as dominant, since it’s the intention to lead to the dominant. Think of it like a conjoined twin. (Example 1)
There are examples of 6/4 chords in neighbor and pedal tone combinations. When the bass line remains the same, also known as a pedal tone, and the higher pitches say a “howdy do” to their upstairs neighbor, usually on a weak beat. I do this all the time when I’m warming up my ear and hands on the piano to be accustomed to a mode. I will play this progression, I5/3 IV6/4 V6/5 (with an omitted fifth) I5/3. The pedal tone happens between I and IV. (Example 2)
Passing tone 6/4 chords happen when the passing tone is the in the bass. The bass line can be ascending or descending in a scale like pattern. The 6/4 chord can appear in the weak beat in the passing tone. The upper voices tend to move by step in this instance. When the 6/4 chord is highlighted as a passing tone, the fifth should be doubled and voices should move stepwise. (Example 3) Let’s double check those rules- the bass is doubled for the 6/4 chord. (Example 4) Each part moves step wise, bass (Example 5) tenor (Example 6) alto, technically stays the same the whole time (Example 7), and soprano (Example 8)
The bass line can also arpeggiate a triad, which means it plays a broken chord. It can play all three parts of a triad, or simply go between root and fifth of the chord, as heard in a march or waltz. The upper voices are static, and the 6/4 movement occurs from the change in the bass line. The first example is I, I6, I6/4 and I. (Example 9)
The last example shows how it can be done with a descending bass line, instead of ascending as previously shown. (example 10)
To recap……
6/4 chords are also known as second inversion triads. Second inversion chords can happen with any scale degree. They can be seen as cadiential, neighbor and pedal, passing tones, and arpeggios.
Coming up next on the Apsolute RecAP Music Theory Edition: Passing tones and Neighbor tones
Today’s Question of the day is about Voice leading
Question: We still need voice leading rules when analyzing 6/4 chords. What century do those rules originate from?