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SIX-FOUR-CHORDS
THREE PRINCIPAL USES
Compared to the other inversions of triads, 6/4-chords are so unstable that they are often regarded as mildly
dissonant. Accordingly, they are subject to very special restrictions; they are always prolongational chords,
and should never appear in your writing or analyses without a clear indication of their subservient function.
This handout discusses the three main types of embellishing 6/4 chords: pedal6/4s, passing 6/4s, and
arpeggiating 6/4s.
1. PEDAL SIX-FOURs
THE BASIC PARADIGM
The pedal 6/4 is an embellishment of a 5/3 chord; it is produced by two simultaneous non-chord
tones in the upper voices. More specifically, pedal 6/4s are produced when a chords third and fifth are
displaced by non-chord tones a step higher, over a stationary bass.
Example (a) shows a very clear specimen: a pedal 6/4 is created when the chordal third and fifth are
each simultaneously embellished with upper-neighbor non-chord tones (shown in red). However, the
non-chord tones that produce the 6/4 may arise in a variety of ways. At (b), a pedal 6/4 embellishes a
submediant triad; here the non-chord tones (again in red) are accented passing tones from the preceding chord. At (c) the non-chord tones are suspensions.
In all cases, the voice-leading is simple: the bass and its upper-voice doubling (here in the tenor)
remains stationary, while the non-chord tones resolve by step to the nearest chord member.
6/4 produced by
two neighbor notes
(a)
D:
I!
@
ped
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(b)
vi @
ped
vi
CLICK TO PLAY
6/4 produced by
two suspensions
(c)
V@
ped
CLICK TO PLAY
VARIABLE PARAMETERS
Pedal 6/4s may be accented or unaccented, and may embellish any consonant 5/3 chord.
Pedal 6/4s are often enclosed by the 5/3 chord they embellish (as at [a]). But just as often they will
appear only prior or only following the embellished chord, resulting in a two- rather than three-chord
basic paradigm, as at (b) and (c).
V@
(b)
D:
(c)
CLICK TO PLAY
(d)
motion to V7
V@
CLICK TO PLAY
evaded cadence*
V@
Ifl
CLICK TO PLAY
^ with
As examples (b) and (c) show, cadential 6/4s allow us to harmonize the melodic progression 3^ - 2^ - 1
a simple V I bass.
Being accented dissonances by nature, cadential 6/4s typically appear on strong beats (1 or sometimes
3). However, in triple meter they may appear on either beat 1 or 2.
* Note that the dotted lines between the bass figures at (d) do not represent the literal voice-leading resolution, as the solid
lines do in (b) and (c).
2. PASSING SIX-FOURS
6/4-chords can also be used a contrapuntal chordsmore specificially, as passing chords between
triads in root-position and first-inversion, similar to the way we have used viio6 and several other chords.
Example (e) shows a modified X paradigm with V@ used as a passing chord between I and I6 ; notice
how similar it is in structure and function to the more familiar passing viio6 (f).
This same passing-chord formula can be transferred to other triads and other bass line segments.
Example (g) shows two predominant sonoritiesii and ii6whose bass notes lie a third apart. In
between lies a iv@, whose bass provides the stepwise connecting link.
D:
V@
Ifl
(e)
(f)
viifl
Ifl
ii
(g)
vi@
iifl
(P)
(P)
(P)
ii
CLICK TO PLAY
CLICK TO PLAY
CLICK TO PLAY
3. ARPEGGIATING SIX-FOURS
Sometimes a root-position triad is prolonged by several chordal skips in the bass, resulting in a full
arpeggio. In such cases, a 6/4 chord is produced incidentally when the bass passes through the
chordal fifth, as shown at (h) below. In other cases, accompaniment patterns will produce apparent
6/4 chords by breaking up a root-position triad into different chunks on strong and weak beats. We
see this at (i), on beats 2 and 3.
Such 6/4swhich are especially common in certain march, waltz, and folk-tune idiomsare always to
be understood as fleeting embellishments of the root-position parent chord. At (h) and especially at (i),
we should understand the root of that parent chord as the real bass note of the entire progression.
(h)
(i)
arp.
D:
I
I
fl
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D:
I
CLICK TO PLAY