1. The 6/4 and Other Linear Chords
Chapter 16

2. The 6/4 and Other Linear Chords
Root & First Inversion Triads (5/3 & 6/3) can be used freely – all consonant intervals
6/4 (2nd inversion) has dissonant 4th which must be approached and resolved correctly
6/4 functions linearly – comes between more stable harmonies; much like a viio6 between a I and I6 or a neighboring IV between two tonic triads

3. Types of 6/4 Chords Accented Cadential Unaccented Passing
Occurs at authentic or half cadence
Unaccented Passing
Between two harmonies
Sustained or Pedal
Over which a neighboring or passing chord occurs
Arpeggiated

4. The Accented/Cadential 6/4
Useful in the progression IV-V-I or ii6-V-I to help alleviate parallel 5ths
Built on the 5th of tonic; however more closely attributed to a dominant harmony because it aurally lacks the stability of tonic
Functions as an expansion of dominant harmony

5. Accented/Cadential 6/4
I IV V I I I6 IV V I
6/4
5/3
Unintended //5th

6. Accented/Cadential 6/4
Accented 6/4 followed by root position dominant chord
Dissonant 4th prepared by common tone from the previous IV and resolves downward by step (typical suspension)
Frequently appears at an authentic cadence
Soprano outlines (^4 -^3-^2-^1) but may appear as (^8-^8-^7-^8)

7. Accented/Cadential 6/4
cm:
i iv i
Cadential 6/4 indicated by Roman numeral as part of the suspended dominant function

8. Accented/Cadential 6/4
Dominant 6/4 to 5/3 sometimes may occur as a half cadence, with the final triad of the authentic cadence omitted
This occurs frequently in slow movements of the Classical period

9. Accented/Cadential 6/4 In partwriting…
The bass note of the 6/4 is almost always doubled
This doubled note (^5) may remain or descend to ^4 (of a V4/2) on its way to ^3

10. Elaborating the Cadential 6/4
No matter the elaboration, the voice leading should always remain constant
A: ii ( 6/ / / /3 ) I V

11. The Passing 6/4 Chord
May occurs as a passing sonority between chords of similar function
Invariably occurs on an unstressed beat
Non-essential linear chord
Passing V6/4 (2nd inversion) may function as a passing sonority linking a root-position tonic to a first-inversion tonic; I – (V6/4) – I6 or the reverse
Commonly used to link two pre-dominant chords with stepwise motion
Most common: IV6 – (6/4) – ii6/5

12. The Passing 6/4 Chord
Eb: I (6/4) I
D: IV /4 ii6/ V I

13. The Pedal 6/4 Chord
Features a sustained bass note over which the dissonant 4th may occur in either neighboring or passing motion
The neighboring version in the first example shows the
5 – 6 – 5
voice leading progression over a stationary bass note.
On both accounts the 6/4 chord is marked only with figured bass numerals.

14. The Pedal 6/4 Chord
Be careful when identifying the note that functions as the actual bass in accompanimental parts
In most cases the first bass note of the measure of figuration is the real bass
The recurring bass notes in m. 1-2 are not 6/4s. The bass note is sustained bass and root!
Measure 3 is a legit 6/4. The F# in the RH is a chromatic passing tone
C: / / /4 (!) /3

15. The Pedal 6/4 Chord
In this case the dissonant 4th appears as part of a three-chord passing progression over the sustained or pedal bass.

16. The Arpeggiated 6/4 Chord
Created by having a broken chord or arpeggiation in the bass
Usually extends over a series of measures rather than just one

17. Other Treatments of the 6/4
See text pg. 278 – 279 for further examples and treatments of the 6/4
See especially the Beethoven (16.11b) and Scarlatti (16.11d)

18. Cadenzas and the 6/4 Italian for cadence
Written and performed for a solo instrument in a concerto; typical of Classical period works
Usually virtuosic in nature; usually on thematic material from earlier in the movement
Usually begins with an extended 6/4 followed by improvisations and movement toward the dominant
A long trill on ^2 usually leads in to an orchestral tutti on the tonic harmony

19. 6/4 Chords in Harmonizations
Cadential 6/4 : , , or when the second chord is 6/4
Passing 6/4: 7-(8)-2, prolonging dominant, or 4-(3)-2 & 6-(5)-4, prolonging pre-dominant
Pedal, neighboring 6/4: 3-(4)-3 or 5-(6)-5 over tonic harmony or passing 2-(3)-4 over dominant harmony

20. Other Diatonic Linear Chords
Consonant Passing I
Used when //5th are looming
Helps link IV- V; stepwise in upper voice
V – IV progression (inherently retro)
Interrupted the tonic to dominant motion
Appears frequently in sequences and in a standard blues progression
Usually appears in major modes

21. Other Diatonic Linear Chords
V- IV Progression (continued)
Sounds like a plagal cadence
Delays tonic by rerouting it through the sub-dominant
Frequent tool of Romantic composers
Apparent Seventh Chords
Arise out of linear voice leading
Incorrectly analyzed as ii4/2 or ii6/5 ; they do not resolve properly (8-7) or progress to dominant
When analyzing just provide the figured bass in parentheses

22. Other Diatonic Linear Chords
Interplay of Harmony and Melodic Dissonance
Usually the origin of weirdo passing harmonies
Confusion comes with embellishing tones played simultaneously with reiterated chords
Do not give these chords Roman numerals or even begin to analyze them