Primeira Inverso

Around 1600, triads were constructed from either the intervals of a third and fifth, or a third and
sixth above the bass (see chapter one, pp. 26-27).

A first inversion triad is known in early theoretical treatises as a

chord of the sixth. The third of a first inversion triad occurs in
the bass and most standard harmony texts claims that the chord
root should be doubled in one of the upper voices, see Ex 1:37.
In order to understand more about the harmonic characteristics
of homophony around 1600, it is important to evaluate whether
individual chords are constructed from the intervals of a third
and fifth, or a third and sixth above the bass. Ex 1:3-7 show that
the root a root position triad is always doubled, but the doubled
pitches in a first inversion triad are not limited only to the root.
The preference for stepwise motion in the bass, when
progressing away from a first inversion triad (see ex 1:38),
demonstrates the importance of maintaining smooth voice
leading when considering an appropriate use of this
extraordinary sonority``. The penchant for stepwise motion in
the bass does not exclude other possibilities, but simply
indicates the preferred practice of a less complicated age. It is
important not to overemphasize any one method of employing
this sonority, since it is easy to focus too narrowly and miss a
broader view of the musical/historical change that was taking
place about 1600. Ex 1:39 is an excerpt from a piece written in
an older style, but where the later concept of triad inversion
seems to apply. The first inversion chord at (1) can certainly be
understood as an inversion of the previously occurring root
position E major chord (measure 1, beat 3). Without a doubt,
however, both of the sonorities at (2) were constructed from
the bass to be harmony carrying chords of the sixth.

In four voice Works of that era, it was quite normal to double any triad member in a chord of
the sixth, while root position triads almost Always doubled the chord root. It was only much
later, in the musico of the Viennese Classical period, that the chord of the sixth acquired its
unequivocal role as an inverted root position triad. During that period, doubling the bass (the
third) in a chord of the sixth became equated with the unacceptable practice of doubling the
third in a root position triad. Maler claims that the sonority contente of the classical first
inversion triad is characterized by a lovely, gentle, less robust and less stable nature, Therefore,
the sensitive sound of this sonority, as it appeared during the time of Mozart and Haydn, can be
attributed to the late eighteenth century practice of doubling the root or fifth, but not the third.

During the time of Bach, however, the chord of the sixth was in a transitional phase between
those practices employed around 1600 and those characteristic of the later eighteenth century.
Nevertheless, between 1700 and 1750, the chord of the sixth was already considered (in most
instances) to be na inverted root position triad; that is, it generally maintained the same
harmonic function as the root position triad with the same root. Futhermore, it is possible to
find, at clmax points, a number of examples of this sonority in early eighteenth century
compositions which seem to exhibit the same illuminating power and graceful sensitivity that
would become so typical later.

However, as Ex: 2:23a-d and 2:24a-c show, four voice work composed during the time of Bach
generally followed the freer chord doubling principles observed in homophonic Works around
1600.

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The frequently quoted rule that first inversion triads should double the root must be confined
to music from the Vienesse Classical period, and should not be applied strictly to earlier
eighteenth century styles. The numbers found above Ex: 2:23a-d and 2:24-a-c indicate which
member of each triad is doubled. Root position chords (labeled with an unboxed 1,3 or 5)
demonstrate a definite preference for doubling the root, whereas first inversion triads (labeled
with a 1, 3 or 5) double the third and fifth just as frequently as the root. Ex 2:25 is a table of
chord member doublings from seventeen Works (or excerpts) composed between 1700 and
1750. Contrary to the doubling rules established by many harmony texts, the data in Ex 2:25
indicate that it was possible to double any member of a first inversion during the time of Bach.

The sacred Works of Haydn exemplify a more traditional and conservative approach to the use
of musical materials, whereas his string quartets are known for their many new compositional
techniques. Ex 2:26 shows that chord doublings in the three excerpts from Haydn composition
correspond directly to doubling principles employed during the time of Bach. However, the four
string quartet excerpts seem to employ the later doubling principles.

Another common misconception is highlighted in Ex 2:25-6. The examined excerpts in Ex: 2:25
show that Bach, Handel and Charpentier doubled the third of root position triads a total of 36
times. Similarly, Haydn doubled the third of root position traids 25 times in the excerpts from
his harmoniemesse. This results in a total of 61 times that the thirs is doubled, as opposed to
only 20 times that the fifth is doubled. The frequently cited rule that root position major triads
should most often double the root, followed next most often by doubling the fifth, and only in
exceptional circumstances, the third proves to be inaccurate for music from the time of Bach. In
fact, this principle holds true only for Classical period instrumental music (from which the rule
was apparently derived) Notice that the string quartet excerpts by Haydn Ex 2:26 do indeed
follow the rule (the third of root position triads is doubled only 5 times, whereas the fifth is
doubled 10 times).

Ex 2:28 also shows that the partwriting rule which forbids doubling of the leading tone must be
more precisely stated than is customary. In relation to music written during the of Bach, the rule
should actually read: the leading tone should not be doubled in a dominant chord that
progresses directly to tonic. Notice, in Ex 2:28b (circled pitches), that Bach employs a doubled
leading tone in the progression D3 S3

First inversion triads may be approached by step or leap in the bass, whether from a chord with
the same root, or from a chord with a different function. When progressing away from a first
inversion triad, however, the bass most often moves by step. Since a first inversion triad is
somewhat less stable than a root position triad, a stepwise progression in the bass following a
first inversion triad can help prevent an overemphasis of this expressive sonority. The bass tone
of a first inversion triad may leap downward by third to the root of the chord. This produces a
root position triad of the same function. A leap in the bass from a first inversion triad to a chord
of a different function is much less frequently encountered, however.

Sonoridade 64

Six four chords (triads which contain tones a sixth and fourth above a bass pitch) were employed
in four different ways during the time of Bach. Of these four, two treat the sonority as a
dissonance, and two as a consonance. The pedal six four and Suspension six four are considered
dissonant, since the bass tone is heard as the chord root, while the other two chord members
(the sixth and fourth above) sound as dissonant voices which require resolution. The arppegio
six four and passing six four are considered to be consonances, because the bass is perceived as
the fifth of the chord

ACORDE PEDAL 64 (Dissonancia)

In order to form a pedal six four, it is necessary to begin with a bass pitch that is shared (pedal
point) among three successive sonorities. Beginning with a root position triad, two upper voices
containing the third and fifth above the bass move to their respective upper neighboring tones
(a sixth and fourth above the bass). Although a pedal six four may be approached more freely
than departed (see Ex 2:32b), the sixth and the fourth often resolves again to the same pitches
from which they were approached (see Ex:2:32a). The pedal six four chord usually occurs in a
metrically weak position and, in four voice texture, the bass is always doubled. Ex 2:32c-d include
excerpts from works by handel and Vivaldi which employ the pedal six four.

ACORDE DE SUSPENSO 64

A suspension six four is formed when the fifth and the third of a root position triad are preceded,
respectively, by the dissonant intervals of a sixth and fourth above a stationary bass pitch. The
double suspension figure (six four) is always introduced in a strong metrical position, followed
by resolution to the fifth and third in a weak metrical position. The dissonant sixth and fourth
may be prepared as consonant members of the previous sonority (see Ex 2:33a), or they may
enter unprepared (see Ex 2:33b).

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The dissonant dominant six four chord D64, often called the cadential six four, is a very
important element in the construction of final cadences. Ex 2:34a-c show the frequently
employed pedal six four / suspension six four combination. This six four sonority always enters
in a strong metrical position and resolves in a weak metrical position.

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ACORDE ARPEGGIO 64

An arpeggio six four chord is created when, in a series of successive triads with the same root,
the bass skips through the triad members from root or third to the fifth and back again to the
root or the third (see Ex.2:35a). The more harmonically stable surrounding chords (root-position
or first inversion triads) make a clear the function of the less stable six four chord. In this case,
the six four chord is functionally equivalent to the chord on either side and, therefore, is
perceived to be consonant (a second inversion triad). Ex 3:35b-c contain excerpts from the
works of Handel and Vivaldi which employ the arppegio six four.

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The arppegio six four (T5) is incorrectly employed in Ex 2:36 because it is not followed by a more
stable tonic function chord (T1 or T3), but by a chord of a different function.

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ACORDE 64 DE PASSAGEM

The passing six four chord also occurs between two more stable consonances (often between a
root position triad and a first inversion triad with the same function). The bass line both
approaches and departs the passing six four by step, smoothly connecting the less stable six four
with the stronger consonances on either side. Because of this smooth motion in the bass, the
passing six four is perceived to be consonant. Ex 2:37a-c show how the passing six four was used
in early eighteenth century music.

Ex 2:38 shows the suspension six four and the passing six four in combination. This musical
structure occurs when a six four chord is placed in a strong metrical position while the bass
approaches and leaves the six four by step. Because it is possible to consider the second
inversion triad in Ex 2:38 either as a passing six four (consonance) or a suspension six four
dissonance, two separate analyses are provided.

In the cadential six four, the suspension figure D64-53 appears more often than any of the other
six four constructions.

4 CHARACTERISTIC DISSSONANCES

Although the tonal function of a single root position major triad is uncertain, when a minor
seventh is added above its root the resulting major minor seventh chord takes on a dominant
function. If a major is added above the root of the same triad, however, the resulting minor
seventh chord (first inversion) takes on a subdominant function (Rameau: sixte ajoute). See ex:
2:40.

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Harmony texts customarily devote a section to these two dissonant sonorities, but the
differences in their origins, voicing considerations, and distinctive features are not usually
covered. For that reason, I will devote some time to a discussion of these issues.

ORIGINS OF THE ADDED SXTH CHORD

The added sixth chord (sixte ajoute) is a somewhat older sonority than the dominant seventh
chord. As ex: 2:41 shows, by 1600 the added sixth chord had already long been considered an
important element in the construction of cadences.

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By employing the S65 chord, it is possible to construct a basic cadence pattern where all
sonorities are smoothly connected by common tones (see ex 2:41). This is not possible with root
position primary triads (see p.29). When used in cadences, the S65 is always followed by D64 or
D, but never by T.

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