6/4 Chords (2nd Inversions)

Pedal (Neighbor) 6/4

A 6/4 chord created by two simultaneous upper neighbors above a common-tone "bass note" both to and from the 6/4. Occurs between two of the same chord: both in root position. Used to prolong a root position triad's harmony. • ie. I→IV⁶⁴→I • ie. V→I⁶⁴→V

Passing 6/4

A 6/4 chord that shows up with the "bass note" as a passing tone between two of the same chord: one at root position and one at first inversion. Stepwise motion both to and from 6/4 chord. Used to prolong a chord's harmony. • ie. I→V⁶⁴→I⁶ • ie. IV→I⁶⁴→IV⁶

Passing 6/4 Resolution

All tones should connect by common tone or by step, making neighboring or passing patterns.

6/4 Chord Doubling

Always double the bass (5th) of the chord.

Pedal (Neighbor) 6/4 Resolution

Keep the common-tone bass (5th) and the doubled 5th. Write upper neighbors to the other notes/voices.

Arpeggiating 6/4 Resolution

Move bass by chordal leaps to and from 6/4. For the other notes/voices: keep common tones and move to the nearest chord member.

Cadential 6/4

The Cadential 6/4 has a dominant function (V), even though it is built of tones from the tonic triad. (I) [i.e. I⁶⁴ → V] Resolves "down" by step to root position V. Normally the chord occurs on the strong beat and is preceded by a pre-dominant chord. (ie. ii⁶) The roman numeral is often written with a V 6-4 and extended dash lines ending with 5-3 under the resolution.

Cadential 6/4 Resolution

Think in the current key for the resolution. • ie. C Major [I⁶⁴ → V]: 1(C)→7(B); 3(E)→2(D); 5(G)→5(G); DBL 5(G)→5(G) • ie. C Major [I⁶⁴ → V⁷]: 1(C)→7(B); 3(E)→2(D); 5(G)→5(G); DBL 5(G)→4(F) (*<Doubled 5th resolves to chordal seventh) *Add 8-7 on top of Roman Numeral for V⁷ resolution • 6/4 to 5/3 motion Explained: The resolution "could" be thought of in the key of V (La[6] to Sol[5] and Fa[4] to Mi[3]) i.e. A Cadential 6/4 in the Key of C major would be I⁶⁴ (C/G) → V. Thinking in the key of the V (G) La[E] resolves to Sol[D] and Fa[C] resolves to Mi[B]). The same occurs to the doubled tone [1...in this case]. Unless going to V⁷. Then Doubled Do[G] resolves to Te[F].

Arpeggiating 6/4

When a single harmony is prolonged by changing inversions/chord tones in the bass: any second inversion chord that results is called an arpeggiating 6/4. • ie. I→I⁶→I⁶⁴ • ie. IV→IV⁶→IV⁶⁴