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19:
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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
851:
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.
288:, 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.
276:
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.)
226:. 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
549:
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
1011:
739:
chord functions as a passing chord between the two more stable chords. It occurs on the weaker beat between these two chords. The upper
1131:
796:-I. In this progression, the third and fifth rise a step each and then fall back, creating a harmonization for the scale degrees
656:
In a progression with a passing second-inversion chord, the bass passes between two tones a third apart (usually of the same
585:
considered an inversion of a tonic triad but as a dissonance resolving to a consonant dominant harmony. This is notated as
859:
828:
751:
524:
322:
296:
1088:
1060:
1036:
980:
394:
368:
376:
494:
is most often a chord that would introduce V as a weak to strong progression, for example, making -II-V into II-I
372:
1124:
1196:
168:
855:
824:
747:
520:
318:
292:
18:
578:-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
1063:. quoted in Beach, David (1967). "The functions of the six-four chord in tonal music", p.7,
134:
1171:
8:
1166:
607:
946:
p. 350, quoted in Beach, D (1967) "The functions of the six-four chord in tonal music",
915:
Hubbard, William Lines (1908). The
American History and Encyclopedia of Music, Vol. 10:
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223:
92:
63:
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38:
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In a progression with an auxiliary (or pedal) second-inversion chord, the IV
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215:
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638:. Several modern textbooks prefer this conception of the cadential
743:
usually move in step (or remain stationary) in this progression.
1202:
634:-V). This function is very similar to the resolution of a 4–3
1106:
Aldwell and
Schachter, Harmony and Voice Leading, 3rd Edition
1031:(2nd ed.), NY: Holt, Rinehart and Winston, p. 68,
469:-V-I. In this form, the chord is sometimes referred to as a
1004:; it serves neither to extend it nor to substitute for it.
647:, which can also be traced back to the early 19th century.
861:
Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
324:
Audio playback is not supported in your browser. You can
298:
Audio playback is not supported in your browser. You can
431:"Six-four" redirects here. For the time signature, see
314:, the bass note is D, the fifth of the seventh chord.
717:). It can also be used in the reverse direction: I-V
675:
is placed between them – though some prefer VII to V
443:second-inversion chords are typically used in the
407:There are four types of second-inversion chords:
1225:
959:
252:), while a second-inversion seventh chord is a
1125:
1083:New York: W.W. Norton & Company, pg 273.
1053:The art of accompaniment from a thorough-bass
995:The chord does not act as an inversion of I
375:. Unsourced material may be challenged and
214:. In this inversion, the bass note and the
1132:
1118:
781:chord functions as the harmonization of a
606:is not the inversion of the V chord but a
1075:
1073:
581:In the second designation, this chord is
395:Learn how and when to remove this message
222:apart which traditionally qualifies as a
557:In the first designation, the cadential
765:
610:on the V that resolves down by step to
1226:
1070:
1113:
1029:Tonal Harmony in Concept and Practice
1023:
728:-I. The important point is that the V
458:-V-I, or one of its variation, like I
1139:
971:(2nd ed.), San Diego, Toronto:
842:
373:adding citations to reliable sources
340:
23:A G-major triad in second inversion
13:
1097:
921:, p.103. Irving Squire: London. .
14:
1260:
1081:Harmonic Practice in Tonal Music
814:
806:
798:
711:
703:
695:
660:). When moving from I to I, the
566:chord features the progression:
345:
230:, a second-inversion triad is a
133:
91:
62:
37:
310:In the second inversion of a G
284:In the second inversion of a C-
1045:
1017:
953:
944:Theory of musical composition,
933:
909:
847:In this progression, the bass
1:
902:
140:Third inversion of F7 chord (
858:
827:
750:
523:
483:chord. The chord preceding I
426:
321:
295:
166:
7:
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505:-V or making IV-V into IV-I
279:
10:
1265:
929:HathiTrust Digital Library
651:
430:
1147:
1079:Gauldin, Robert (1997).
973:Harcourt Brace Jovanovich
969:Harmony and Voice Leading
553:above a stationary bass.
785:in the progression, I-IV
336:
1065:Journal of Music Theory
948:Journal of Music Theory
863:download the audio file
832:download the audio file
755:download the audio file
528:download the audio file
326:download the audio file
300:download the audio file
1162:Close and open harmony
1103:Walter Piston, Harmony
312:dominant seventh chord
270:
265:
766:Auxiliary (or pedal)
690:motion in the bass (
369:improve this section
210:of the chord is the
608:double appoggiatura
218:of the chord are a
1055:, Vol. 1, p. 314.
918:Musical Dictionary
820:in the top voice.
44:Root position (F)
1221:
1220:
867:
843:Bass arpeggiation
836:
759:
658:harmonic function
597:-I, in which the
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445:authentic cadence
405:
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69:First inversion (
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1141:Voicing in music
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1098:Further reading
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965:Schachter, Carl
961:Aldwell, Edward
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1177:Root position
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1061:0-486-43188-6
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1051:Arnold, F.T.
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950:, 11(1), p. 8
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881:Root position
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692:scale degrees
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662:passing chord
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551:voice leading
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354:This section
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209:
206:in which the
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200:seventh chord
197:
193:
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185:
184:
170:
162:
136:
123:
100:
94:
81:
65:
52:
40:
31:F major chord
1188:
1152:Blind octave
1080:
1064:
1052:
1047:
1028:
1025:Forte, Allen
1019:
994:
968:
955:
947:
943:
935:
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911:
846:
769:
655:
582:
537:
470:
439:
437:
421:arpeggiation
406:
391:
385:October 2018
382:
367:Please help
355:
309:
283:
274:chord factor
271:
266:
228:figured bass
180:
178:
98:
1199:inversions)
1167:Common tone
1157:Block chord
849:arpeggiates
686:– creating
419:, and bass
286:major triad
204:ninth chord
1228:Categories
903:References
636:suspension
622:(that is,
471:cadential
224:dissonance
1181:Inversion
441:Cadential
427:Cadential
417:auxiliary
409:cadential
356:does not
212:bass note
183:inversion
1172:Doubling
1067:, 11(1).
1027:(1974),
991:19029983
967:(1989),
874:See also
688:stepwise
280:Examples
268:results.
1234:Harmony
927:at the
652:Passing
413:passing
377:removed
362:sources
263:chord.
192:voicing
190:is the
181:second
1244:Chords
1203:Octave
1197:higher
1195:, and
1087:
1059:
1035:
1010:
989:
979:
741:voices
220:fourth
1208:Voice
940:Weber
337:Types
208:fifth
202:, or
196:triad
194:of a
188:chord
186:of a
1179:and
1085:ISBN
1057:ISBN
1033:ISBN
987:OCLC
977:ISBN
924:Also
516:-V.
360:any
358:cite
216:root
179:The
169:edit
160:Play
121:Play
79:Play
50:Play
1193:3rd
1189:2nd
1185:1st
1008:LCC
592:4–3
583:not
371:by
1230::
1191:,
1187:,
1072:^
993:,
985:,
963:;
942:,
812:–
804:–
709:–
701:–
423:.
415:,
411:,
198:,
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1183:(
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1126:t
1119:v
1042:.
1014:.
1000:3
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834:.
791:4
776:4
757:.
734:4
723:4
681:4
670:4
664:V
643:4
629:4
624:V
617:3
612:V
602:4
587:V
573:4
568:I
562:4
544:4
530:.
511:4
500:4
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435:.
398:)
392:(
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101:(
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