Glossary
6/4 Chord
A triad in second inversion, meaning the fifth of the chord is in the bass. These chords are primarily used as embellishments rather than structural harmonies.
Example:
In C Major, a G-C-E chord with C in the bass would be a 6/4 chord (IV6/4), often used to decorate a tonic harmony.
Arpeggiated 6/4
A 6/4 chord that is part of an arpeggiation of a single triad, where the bass line moves through different inversions of the same chord.
Example:
A progression like C-E-G (I), then E-G-C (I6), then G-C-E (I6/4), all belonging to the C Major triad, showcases an arpeggiated 6/4.
Cadential 6/4
A specific type of I6/4 chord that precedes a root position V chord, typically at a cadence. It functions as an expansion of the dominant harmony, creating tension before resolution.
Example:
Before a perfect authentic cadence in G Major, you might hear a C-G-E chord (I6/4) resolving to a D-F#-A chord (V), where the C-G-E is the cadential 6/4.
Dominant Function
The role of a chord (typically V or vii°) in creating tension that strongly resolves to the tonic. A cadential 6/4 chord temporarily assumes this role.
Example:
The strong pull of a G7 chord resolving to C Major demonstrates its powerful dominant function.
Double the bass
A voice leading rule for cadential 6/4 chords, requiring the note in the bass (the fifth of the chord) to be present in two voices.
Example:
When writing a cadential 6/4 in C Major (G-C-E with G in the bass), you must double the bass by having two Gs in the chord, perhaps one in the bass and one in the tenor.
Embellishment
A musical decoration or ornament that adds interest to a harmony without changing its fundamental function. 6/4 chords often serve this purpose.
Example:
The quick flourish of a trill on a sustained note acts as an embellishment, much like a passing 6/4 chord decorates a harmonic progression.
Neighboring/Pedal 6/4
A 6/4 chord where the bass note remains stationary (like a pedal tone) while the upper voices move briefly away from and then return to the original harmony, embellishing it.
Example:
In a C Major progression, a C-E-G (I) moving to a G-C-E (IV6/4) and back to C-E-G (I), with C remaining in the bass throughout, demonstrates a neighboring/pedal 6/4.
Parallel Fifths and Octaves
Voice leading errors that occur when two voices move in the same direction, maintaining the same interval of a perfect fifth or perfect octave between them.
Example:
If the soprano and alto both move up a step, maintaining a perfect fifth between them, this creates parallel fifths and octaves, which is generally avoided in common practice harmony.
Passing 6/4
A 6/4 chord that connects two chords by filling in a stepwise melodic motion in the bass line, typically spanning a third.
Example:
Moving from a C-E-G (I) to an E-G-C (I6) in C Major, a G-C-E (V6/4) can be inserted between them, creating a smooth C-D-E bass line, making the G-C-E a passing 6/4.
Predominant Harmony
A chord (such as IV or ii) that typically precedes a dominant chord, preparing for its arrival and subsequent resolution to the tonic.
Example:
In a typical phrase, a ii6 chord often acts as a predominant harmony leading into a V chord.
Voice Leading
The melodic and harmonic movement of individual musical lines (voices) within a chord progression, emphasizing smooth connections and avoiding errors.
Example:
Ensuring that the soprano line moves stepwise and avoids large leaps is a key aspect of good voice leading.