Pedals on the dominant and tonic notes are quite common. You can use other tones of the scale as your pedal, not only the tonic note. In the example below, the middle chord is a IV 6/4 chord, since the tonic pedal note is the fifth of the IV chord. This pedal noteis the fifth of the second chord. That root position chord will have its root doubled, and that pedal note will also be doubled in the middle chord. IN this type of 6/4 chord, the first and third chords are usually the same root position chord. In the example below, I chose the tonic note as my pedal tone. The bass note is doubled in all three chords. With a pedal six-four, the bass stays on the same note for three chords in a row - the six-four chord is the middle chord of the three. In this type of 6/4 chord, the bass note sustains like a pedal tone, or conversely you might say that two of the upper voices behave like neighbor tones. Doubling and voice leading should follow the two rules above. One of the upper voices will follow a similar passing tone movement in the opposite direction from the bass line, one will remain stationary, and one will move like a neighbor tone. IN this progression, the other voices move predictably also. Since the passing note in this example turns out to be the second degree of the scale, the 6/4 chord we need to use will be a V. That note will be the bass note for the 6/4 chord. Then fill in the gap of a third in the bass between these two chords with a passing tone. The bass note of this six-four chord behaves just like a passing tone - in other words, this bass note, the note before it, and the note after it will make a three note stepwise line, either ascending or descending.Ī simple way to create a passing six-four chord is to take a chord and its first inversion my example uses I and I6, but you may use any diatonic chord and its first inversion. This type of 6/4 chord is used much like the non-chord tone called a passing tone. There are three types that behave like non-chord tones – the passing 6/4, the pedal or neighboring 6/4, and the cadential 6/4 – as well as the simple use of an arpeggiated 6/4, all of which we will study below: Voice leading - in general,six-four chords are approached and resolved by stepwise movement There are two specific doubling and voice leading rules for these six-four chords that you should always keep in mind: Either way you think about this, it is important to know how to move the voices properly. Many theorists do not actually consider second inversion triads as actual chords in their own right - they are considered dissonances that are in the process of resolving to the main chord in the analysis. They must be approached in a certain way, and resolved in a certain way, like the non-chord tone of the same name. Other kinds of triads have quite a bit of flexibility about their doubling and voice leading, but not six-four chords.īasically, they operate according to rather rigid formulas, much as non-chord tones do. Second inversion triads are the most restricted type of chords in music theory.
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