Unit 2.

2
SECOND-INVERSION TRIADS (64 chords)

Root-position triads and first-inversion triads can almost be used in any which way when you
are partwriting. However, second-inversion triads are a special breed and get used in very
particular ways!

Why? If you recall from our counterpoint studies, the perfect fourth historically has been
considered to be a dissonant if the lowest-sounding voice in the texture was sounding the
bottom pitch of the P4.

A 64 chord has a P4 between the bass and the tonic; therefore, this position is considered much
less stable than root-position or first-inversion triads.

Chords 1 and 2 are considered consonant.

-Chord 1 has a P4, but it does not involve the bass; it

is between the tenor and soprano
-Chord 2 has a P4 alto and soprano

Chords 3 and 4 are considered dissonant because

they both have P4s in which the bass is involved:

-Chord 3 has a P4 between the bass and tenor

-Chord 4 has a P4 between the bass and soprano

Even a diminished or augmented 64 chord will contain dissonant intervals above the bass - an
A4 and a d4, respectively.

In four-voice textures, the fifth (bass note) of a second-inversion triad is usually doubled.

Approach and resolve the 64 chords with as few leaps as possible; only in the arpeggiated 64
chord is the bass note approached or left by leap.

Remember that the P4 is considered dissonant historically; to our 21st-century ears, it may not
sound too offensive. Still, we treat 64 chords in their own special way! They have different uses
depending on the context, which we will discuss next.

A 64 chord is not used as a substitute for the more stable root-position or

first-inversion sonorities.

As usual, I’ve made all of my examples in the key of C to make it easy

Here are some good examples: http://www.musictheoryteacher.com/pb/wp_94176fc5/wp_94176fc5.html

CADENTIAL 64
I64 followed by a root-position V(7)
Usually on a metrically strong beat
Bass motion is usually approached by step and always resolves by common tone

The cadential 64 is perhaps the most-used of the second-inversion triads. It is a tonic triad in
second inversion that will resolve to a V or V7 in root position.

It happens commonly at cadences (hence the name), though it appears within phrases as well.

It is generally used to prolong the V chord and acts as an embellishment of the V:

In this example, ii moves directly to V7, which In this example, the movement from ii to V7
resolves to I. is delayed by a I64 chord.

For this reason, the cadential 64 chord is not considered a tonic triad!!

Even though it contains all of the same notes as a tonic triad, it does not function that way; it
actually functions as an embellishment of the dominant, so it is quite different than a regular
tonic triad (a I or I6):

● A regular tonic triad is very stable; a I64 is unstable and dissonant.

● A regular tonic triad usually follows a dominant-function chord; a I64 never follows a
dominant chord because it is also a dominant function!
● A regular tonic triad can go to any chord; a I64 always moves to V(7)
● A regular tonic triad usually doubles the root, and can also double the third or fifth as
needed; a I64 will double the fifth (the bass) and should avoid doubling the root because
it is a dissonance above the bass

So, how do we analyze it if it’s like tonic but not really?? There’s actually a lot of debate about
that….
Cadentional 64, cont. - how to analyze

The jazz chord symbol for these chords will not be anything weird - it’ll still be the chord over
what’s in the bass. In this case, the 64 chord would have the jazz chord symbol “C/G”.

What to put as the Roman numeral depends on who you ask:

This is how I analyze them. The first chord is a C/G, so in the key of
C it is, indeed, a I chord in second-inversion, so “I64” is the most
accurate label here.

It is sometimes bracketed together with the V chord to show that,

although it looks like a tonic triad, it is actually functioning as a part
of the dominant harmonies.

This is similar, except that it replaces the “I” with “cad”, short for
cadential. This is because the cadential 64 is always a tonic triad, so
it is assumed that you will know that it has scales degrees 1, 3, and 5
present.

It labels the function rather than the actual notes.

This is my least-preferred form of labelling, although it does make a

lot of sense.

Essentially, this label is saying that the first chord (in this case, a
C/G) is really a V chord with nonchord tones a sixth and a fourth
above it, which resolve to a fifth and third, respectively.

I get what it’s saying, but I don’t like it, because “V64” implies that
it’s a V chord in second inversion, which in this case would be G/D,
not C/G. It’s just…. not correct.

I get it but I’m not a fan.

Cadential 64, cont.

Franz Schubert’s “Heidenroslein” includes a

satisfying cadential 64 before a perfect
authentic cadence.

https://youtu.be/wyoX4sZ2DAI?t=20

G: IV IV6 I64 V7 I

The third movement of Clementi’s

Sonatina in G (Op. 36, No. 5)
includes a cadential 64:

https://youtu.be/bqv21sLqaEc?t=2
89

G: I6 ii6 I64 V I

Partwriting:
I64 to V: I64 to V7:
Bass stays stationary (sol) Bass stays stationary (sol)

One of the upper voices also stays (other sol) Upper three voices move down by step:
Sol down to Fa (this is what makes it a 7)
Other two voices resolve down by step: Mi down to Re
Mi down to Re Do down to Ti*
Do down to Ti
*You might be wondering - won’t this cause parallel fifths? Yes, it will, but it won’t be parallel PERFECT
fifths; Ti to Fa is a d5. Remember, we are concerned with how PERFECT intervals are approached; a
diminished fifth can be approached with parallel motion and it’s ok.
PASSING 64
The bass note of this 64 chord is a passing tone
Usually occurs on a metrically weak beat
Bass motion is by step in the same direction

This type of 64 chord fills in the gap in the bass voice between two other chords so it seems like a
passing tone:

The iii64 acts as a passing 64 chord: the bass note C passes through B
on its way to A.

It is often between two of the same chord in different inversions:

The I64 chord acts as a passing 64 chord: the bass note F passes
through G on its way to A.

This is a good example of a I64 not acting as a cadential 64! It doesn’t

always have to be. Context is everything!

You might also see I - V64 - I6, or V - ii64 - V6, etc…

PEDAL 64
Root-position chords surround a 64 chord, keeping the same bass note sustained throughout
Usually metrically weak
Bass motion is stationary

A pedal 64 chord is very similar to the pedal point NCT, except here the pedal tone is part of the
harmonies.

The bass of a root-position chord is sustained while the upper voices are decorated with
embellishing tones that form a 64 chord:

The most common Any chord can be

chords to be embellished with a
embellished are the pedal 64 chord.
I and the V. Here, I
is embellished with Here, ii is
a IV64 chord, which embellished with a
shares the same pedal V64 chord.
bass note.
The bass note, D, is
See the sustained C sustained
throughout! throughout.

A V is embellished with a pedal I64 chord.

This is different that the cadential I64 chord:

-A cadential I64 will resolve to a V, but is NOT approached by a V, and is

usually on a strong beat

-A pedal I64 will be approached by V and also resolve to V, and is usually

metrically weak
Pedal 64, cont.

The famous Christmas song “Silent Night” features a

prominent pedal 64 chord:

https://youtu.be/qjli03yVbv4

Clementi's Sonatina in D (Op. 36, No. 6)

The left hand arpeggiates a root-position I in measures 1-2, then arpeggiates a IV64 in measure
3, then back to root-position I in measure 4.

Some examples in pop music:

"Deep in the Motherlode" by Genesis
"Lick It Up" by KISS
"Don't Cry For Me Argentina" from Evita by Andrew Lloyd Webber

Can you tell I was listening to a lot of Kiss and Genesis when I was prepping this class?
ARPEGGIATED 64
A 64 chord that is part of a larger arpeggiation of a chord
Usually on a metrically weak beat
Bass motion is by leap

A triad, usually a tonic or dominant, is arpeggiated in the bass. This produces root-position,
first-inversion, and second-inversion triads in succession!

This 64 chord is part of an arpeggiation of the C major triad!

You may find an arpeggiated 64 in the context of a “boom chuck” march or rag:

Maple Leaf Rag, second strain by Scott Joplin

Ab: V64 V V64 V I I64 I ...

“My Country, ‘Tis of Thee” aka “God Save The Queen” features all of the 64s!
Cadential 64 in: Arpeggiated 64 in: Pedal 64 in: Passing 64 in:
-measure 4 (“lib - er”) -measure 7 (implied F -measure 10 -measure 12 (“tain”) -
-measure 5 (“thee I”) on “my”) (“-grims’”) Csus4/G
-neasure 13 (“free - dom”) -measure 9 (“the”)
Bonus plagal cadence at the end
Bonus accented passing tones in measure 11