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| Origin of the Cadential [6/4] | Developed out of a very old voice-leading technique: delaying the leading tone at a cadence by means of a suspension= This suspension often decorates a cadential V= The suspension and its resolution form a 4th and a 3rd and the intervallic progression is called a "4-3" Suspension= If we delay the 5th of the V chord by first using a sixth, we obtain the complete [6/4] chord moving to V in [5/3] position |
| Cadential [6/4]: Voice Leading | The stepwise descending resolution of a 4th to a 3rd forms the basis for the correct treatment of the cadential [6/4]= Stepwise descent is the normal way to resolve suspensions and other accented dissonances, (and the 4th is dissonant when it sounds between the bass and one of the upper parts)= Because it contains the 4th in this position, the [6/4] functions as a dissonant chord |
| When is the 4th dissonant? | When it sounds between the bass and one of the upper parts |
| [6/4] Chord | Functions as a dissonant chord |
| "4-3" Suspension: How will the 4th most often enter? | Often enters as a suspension (held over or repeated from the preceding chord)= Will resole by step to the 3rd of dominant harmony |
| "4-3" Suspension: When and what happens if the 4th cannot enter as a suspension? | If the 4th cannot enter as a suspension (e.g. coming from II or II^6), the 4th can enter by stepwise descent as an accented passing tone (APT)= Will still resolve by step down to the 3rd of the dominant harmony |
| "4-3" Suspension: In simple textures, how will the 4th not usually enter? | Won't usually enter by leap |
| "4-3" Suspension: In more complex instrumental styles, how does the 4th normally enter? | Normally enters as a common tone or by stepwise motion= Sometimes the stepwise introduction of the 4th is masked by figuration |
| Cadential [6/4]: 6th | The 6th of the cadential [6/4] is CONSONANT and thus does not require careful preparation= Most of the time it will move down by step into the 5th of 5/3 |
| What does the Cadential [6/4] move easily to? How does it do this? | Moves easily to V^7= Usually, all the upper voices descend by step, thus: [{8/6/4}-{7/5/3}]= Less frequently, the 6th above the bass (especially when in an inner voice) can move up to the 7th= With the less-usual doubled 6th, another possibility arises: [{6/6/4}-{7/5/3}] |
| Cadential [6/4]: Doubling | The bass is the best tone to double because it is the root of the prevailing harmony (V) to which the 6/4 resolves= If this doubling is impracticable (e.g. when moving from II^6 in open position threatens parallel 5ths) the 6th should be doubled= The 4th is NOT doubled except in very free or complex textures |
| Cadential [6/4]: Cadences | Forms part of an authentic cadence or a semicadence (usually supporting an accented s.d. 3 or 1) |
| Cadential [6/4]: Stepwise Melodic Line | An important use of the cadential [6/4] is the stepwise melodic line that it permits when IV or II moves to V with scale degrees 4-2 or 2-7 in the soprano= One necessary condition is that scale degree 3 and 1 (the passing tones belonging to the [6/4) must fall on an accented beat or part of the beat |
| Cadential [6/4]: Functions of scale degrees 1 and 7, 3 and 2 | Normally, s.d. 1 is the most stable melodic tone and normally serves as a goal of motion; s.d 7 is an unstable tone with a marked tendency to move to s.d. 1= HOWEVER, in the cadential [6/4], s.d. 1 functions as a dissonance (4th)= It cannot serve as a goal of motion= Instead, it must resolve to s.d. 7 by stepwise descent= Thus, s.d. 7 becomes a temporary goal; s.d. 1 loses its stability and becomes an active tone dependent on s.d. 7= Also, s.d. 3 (6th above the bass) also becomes more unstable than s.d. 2 (5th of V) to which it normally descends= The relationship between these tones resembles that between s.d. 1 and s.d. 7 |
| Cadential [6/4]: Describe s.d. 7 and 2 after the resolution of the Cadential [6/4] to V | After the resolution of the cadential [6/4] to V, scale degrees 7 and 2 retain their tendency to move on to s.d. 1 (they function as temporary, not final goals) |
| What (and how) does the Cadential [6/4] intensify? | Intensifies dominant harmony by delaying the appearance of its 3rd and 5th (scale degrees 7 and 2)= This function is contradicted if a dominant chord (or VII^6, which closely resembles a dominant) precedes the [6/4] |
| When is the intense the Cadential [6/4]'s intense effect of delaying the leading tone weakened? | If the [6/4] follows a chord that contains scale degree 7 |
| Harmonic Syntax: Approaching the Cadential [6/4] | Approach the cadential [6/4] only from an intermediate harmony or from a tonic chord, but NOT from any chord of dominant function (V, V^6, V^7 and its inversions, or VII^6) |
| If a cadential effect is not wanted, what can the [6/4] move to? | Can move to a [4/2] |
