Notice the voice leading typically found: It is so common and so effective that it could be labelled as a Super Perfect Authentic Cadence. The cadential 6/4 actually becomes part of the cadence, with a single Roman numeral to define both theĦ/4 and the dominant that follows. This particular sonority is commonly found in all music of the Common Practice Period, and is an extremely effective means Instead, it is written with the dominant numeral plus figured bass symbols above it. It is inappropriate to label it with the tonic Roman numeral. Since ^5 is in the bass, the cadential 6/4 proves to be an expansion of dominant and cannot be separated from it. It does not provide stability and, in fact, has a strong need to resolve to dominant. In spite of the fact that this chord resembles tonic (containing ^1 - ^3 - ^5), in reality it has nothing in common with the tonic function to the ear. This is frequently done with the insertion of a CADENTIAL 6/4. This requires that a label be attached to the Roman numeral.Ĭomposers frequently prolong the arrival of dominant at a cadence in order to increase harmonic tension. There are four types of 2nd inversion triads (commonly called 6/4 chords) that can be found in the Common Practice Period:Īll second inversion triads MUST have an explanation/justification for their presence in the music. Any triad may be voiced in the 2nd inversion, but the resulting sonority is extremely unstable, due to the dissonance of a 4th above the bass. Triads in root position and 1st inversion are common, but 2nd inversion triads are problematic. Sonorities, and Time Organization in Western Art MusicĭIATONIC PROCEDURES II Chapter 16. Second Inversion Triads SOUND PATTERNS A Structural Examination of Tonality, Vocabulary, Texture,
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