| A | B |
|---|
| 6/3 Chords | Are less stable than their parent chords (i.e. root position counterparts), and are thus more more fluid= They often occur within a phrase rather than at its beginning or end |
| 6/3 Chords: Function | Extend the parent chord= These expansions typically feature parallel 10ths or voice exchanges between bass and soprano |
| 6/3 Chords: Doubling | Inverted chords MUST be complete= Can double (1) the SIXTH (i.e bass of chord), (2) the THIRD (i.e. note above the bass of the chord), (3), the BASS (the bass of the chord), i.e., "take the octave" |
| 6/3 Chords: Facts | 6/3 chords sound best in the neutral or open-octave position= Unison doubling is acceptable= OCTAVE between the BASS and SOPRANO is RARE, and should be avoided (EXCEPTION: Is when the 6/3 harmony is a passing chord in a voice exchange)= In V6 or viiº6, do NOT double the leading tone |
| I^6: Soprano Progressions | Avoid those where the soprano doubles the bass!!!!= Most include voice exchange and parallel 10ths (others are acceptable) |
| I^6: Doubling | Can double any note as long as you avoid parallel 8ves and 5ths |
| I^6: Where does it move to? | I^6 typically moves to II^6 or IV, but can also arpeggiate the tonic triad by moving to V |
| I^6 represents I | (a) I^6 represents I after V to avoid cadential resolution= AVOID: V7-I6 (it results in hidden octaves)= (b) I^6 represents one or both tonic chords in the I-IV-I progression (works well with 5-6-5 soprano) |
| I^6-? | I^6-IV works well (more in MAJOR keys than minor keys, due to the half-step relationship in the bass in major) |
| I^6: Functions as a passing chord expanding the superdominant | Connects ii and ii^6 (=ii-I^6-ii^6, and visa-versa)= Only works (1) in MAJOR, (2) if there is a voice-exchange between bass and soprano, and (3) the passing 6/3 chord occurs on a relative weak metrical position= Works best in close position |
| V^6 | Do NOT double the leading tone= Unless you move to another dominant family chord, the leading tone in the bass should resolve by half step to I (NEVER I^6) |
| V^6-? | V^6-I |
| V^6 Functions as a neighboring chord of I | Soprano Line: 1-2-3= Conventional opening gesture= May occur as an incomplete neighbor |
| V-? | V-V^6 |
| V^6 expands the dominant | (Bass skips to or from the 5/3 position) Soprano Progressions: voice exchange and parallel 10ths (other progressions are ok, just AVOID those where the soprano doubles the bass) |
| V^6 represents V | V^6 represents after V to avoid cadential resolution (EX: I-ii-V^6-I) |
| IV^6 expands or represents IV | (1) IV^6 moves TO or FROM IV; soprano frequently features a voice exchange= (2) IV^6 functions as a predominant in cadential progressions= In minor, it forms the Phrygian Half-Cadence |
| IV^6 Expands the Tonic | IV^6 expands the tonic with a descending arpeggiating bass: I-IV^6-I^6= Soprano Progression: 3-4-5= Progressions only works in DESCENDING direction= Bass must DESCEND to I^6= Double interval that yields the smoothest voice leading |
| IV^6 Functions as a passing chord expanding the dominant | V-IV^6-V^6= Soprano Progression: Voice Exchange= In minor keys, raise scale degree 6 to avoid melodic augmented 2nd in bass |
| IV^6 functions as a neighboring chord to V | (1) More common in minor keys because of the minor 2nd in the bass= (2) INcomplete neighbor: Substitutes for VI in deceptive cadence |
