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Inversions are not restricted to the same number of tones as the original chord, nor to any fixed order of tones except with regard to the interval between the root, or its octave, and the bass note, hence, great variety
862:
the root, third, and fifth of the chord. This is just a florid movement but since the fifth is present in the bass, it is referred to as a bass arpeggiation flavour of the second inversion.
299:, the bass is G — the fifth of the triad — with the root and third stacked above it, forming the intervals of a fourth and a sixth above the inverted bass of G, respectively.
287:
in the bass, but it may have any arrangement of the root and third above that, including doubled notes, compound intervals, and omission (G-C-E, G-C-E-G', G-E-G-C'-E', etc.)
237:. There is therefore a tendency for movement and resolution. In notation form, it is referred to with a c following the chord position (For e.g., Ic. Vc or IVc). In
560:
can be analyzed in two ways: the first labels it as a second-inversion chord, while the second treats it instead as part of a horizontal progression involving
1022:
1142:
750:
chord functions as a passing chord between the two more stable chords. It occurs on the weaker beat between these two chords. The upper
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807:-I. In this progression, the third and fifth rise a step each and then fall back, creating a harmonization for the scale degrees
667:
In a progression with a passing second-inversion chord, the bass passes between two tones a third apart (usually of the same
383:
596:
considered an inversion of a tonic triad but as a dissonance resolving to a consonant dominant harmony. This is notated as
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333:
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is most often a chord that would introduce V as a weak to strong progression, for example, making -II-V into II-I
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103:
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589:-V-I. Most older harmony textbooks use this label, and it can be traced back to the early 19th century.
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Note that any voicing above the bass is allowed. A second inversion chord must have the fifth
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1074:. quoted in Beach, David (1967). "The functions of the six-four chord in tonal music", p.7,
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p. 350, quoted in Beach, D (1967) "The functions of the six-four chord in tonal music",
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Hubbard, William Lines (1908). The
American History and Encyclopedia of Music, Vol. 10:
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In a progression with an auxiliary (or pedal) second-inversion chord, the IV
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649:. Several modern textbooks prefer this conception of the cadential
754:
usually move in step (or remain stationary) in this progression.
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645:-V). This function is very similar to the resolution of a 4–3
351:
1117:
Aldwell and
Schachter, Harmony and Voice Leading, 3rd Edition
1042:(2nd ed.), NY: Holt, Rinehart and Winston, p. 68,
480:-V-I. In this form, the chord is sometimes referred to as a
1015:; it serves neither to extend it nor to substitute for it.
658:, which can also be traced back to the early 19th century.
872:
Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
442:"Six-four" redirects here. For the time signature, see
179:
325:, the bass note is D, the fifth of the seventh chord.
728:). It can also be used in the reverse direction: I-V
686:
is placed between them – though some prefer VII to V
454:second-inversion chords are typically used in the
418:There are four types of second-inversion chords:
276:
263:), while a second-inversion seventh chord is a
1136:
1094:New York: W.W. Norton & Company, pg 273.
1064:The art of accompaniment from a thorough-bass
8:
1006:The chord does not act as an inversion of I
386:. Unsourced material may be challenged and
225:. In this inversion, the bass note and the
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1129:
1121:
792:chord functions as the harmonization of a
617:is not the inversion of the V chord but a
1086:
1084:
592:In the second designation, this chord is
406:Learn how and when to remove this message
233:apart which traditionally qualifies as a
568:In the first designation, the cadential
919:
621:on the V that resolves down by step to
1040:Tonal Harmony in Concept and Practice
739:-I. The important point is that the V
469:-V-I, or one of its variation, like I
7:
982:(2nd ed.), San Diego, Toronto:
384:adding citations to reliable sources
34:A G-major triad in second inversion
932:, p.103. Irving Squire: London. .
25:
1092:Harmonic Practice in Tonal Music
825:
817:
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671:). When moving from I to I, the
577:chord features the progression:
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241:, a second-inversion triad is a
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321:In the second inversion of a G
295:In the second inversion of a C-
955:Theory of musical composition,
858:In this progression, the bass
1:
151:Third inversion of F7 chord (
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494:chord. The chord preceding I
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516:-V or making IV-V into IV-I
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940:HathiTrust Digital Library
441:
1158:
1090:Gauldin, Robert (1997).
984:Harcourt Brace Jovanovich
980:Harmony and Voice Leading
564:above a stationary bass.
796:in the progression, I-IV
1076:Journal of Music Theory
959:Journal of Music Theory
874:download the audio file
843:download the audio file
766:download the audio file
539:download the audio file
337:download the audio file
311:download the audio file
1173:Close and open harmony
1114:Walter Piston, Harmony
323:dominant seventh chord
281:
777:Auxiliary (or pedal)
701:motion in the bass (
380:improve this section
221:of the chord is the
619:double appoggiatura
229:of the chord are a
1066:, Vol. 1, p. 314.
929:Musical Dictionary
831:in the top voice.
55:Root position (F)
18:Cadential six-four
1232:
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854:Bass arpeggiation
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669:harmonic function
608:-I, in which the
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456:authentic cadence
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80:First inversion (
16:(Redirected from
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1109:Further reading
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972:Aldwell, Edward
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549:The cadential
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1072:0-486-43188-6
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1062:Arnold, F.T.
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961:, 11(1), p. 8
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892:Root position
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794:neighbor note
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703:scale degrees
700:
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673:passing chord
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562:voice leading
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365:This section
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217:in which the
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211:seventh chord
208:
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181:
173:
147:
134:
111:
105:
92:
76:
63:
51:
42:F major chord
19:
1199:
1163:Blind octave
1091:
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1039:
1036:Forte, Allen
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1005:
979:
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548:
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450:
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432:arpeggiation
417:
402:
396:October 2018
393:
378:Please help
366:
320:
294:
285:chord factor
282:
277:
239:figured bass
191:
189:
109:
1210:inversions)
1178:Common tone
1168:Block chord
860:arpeggiates
697:– creating
430:, and bass
297:major triad
215:ninth chord
1239:Categories
914:References
647:suspension
633:(that is,
482:cadential
235:dissonance
1192:Inversion
452:Cadential
438:Cadential
428:auxiliary
420:cadential
367:does not
223:bass note
194:inversion
1183:Doubling
1078:, 11(1).
1038:(1974),
1002:19029983
978:(1989),
885:See also
699:stepwise
291:Examples
279:results.
1245:Harmony
938:at the
663:Passing
424:passing
388:removed
373:sources
274:chord.
203:voicing
201:is the
192:second
1255:Chords
1214:Octave
1208:higher
1206:, and
1098:
1070:
1046:
1021:
1000:
990:
752:voices
231:fourth
1219:Voice
951:Weber
348:Types
219:fifth
213:, or
207:triad
205:of a
199:chord
197:of a
1190:and
1096:ISBN
1068:ISBN
1044:ISBN
998:OCLC
988:ISBN
935:Also
527:-V.
371:any
369:cite
227:root
190:The
180:edit
171:Play
132:Play
90:Play
61:Play
1204:3rd
1200:2nd
1196:1st
1019:LCC
603:4–3
594:not
382:by
1241::
1202:,
1198:,
1083:^
1004:,
996:,
974:;
953:,
823:–
815:–
720:–
712:–
434:.
426:,
422:,
209:,
165:)
126:)
84:)
1194:(
1144:e
1137:t
1130:v
1053:.
1025:.
1011:3
876:.
845:.
802:4
787:4
768:.
745:4
734:4
692:4
681:4
675:V
654:4
640:4
635:V
628:3
623:V
613:4
598:V
584:4
579:I
573:4
555:4
541:.
522:4
511:4
500:4
488:4
475:4
464:4
458:I
446:.
409:)
403:(
398:)
394:(
390:.
376:.
339:.
313:.
269:3
258:4
247:4
159:2
153:E
120:4
114:C
112:(
82:A
20:)
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