• While composers use root position and first inversion triads freely, second inversion usually occurs in three situations.
• Like first inversion, second inversion may be used to smooth out a bass line.
• Look at this example -- notice the movement of the bass line.
• By using a second inversion V chord, the bass line moves by step and becomes smooth.
• A second inversion triad used in this fashion is called a passing six-four chord.
• Second inversion may also be used to straighten a bass line.
• Look at this example -- notice how the bass line jumps up to the F and then returns back to C.
• By using a second inversion IV chord, the movement in the bass line is eliminated.
• A second inversion triad used in this fashion is called a pedal six-four chord.
• The cadential six-four chord is the final and most noticeable use.
• In this form, the second inversion triad preceeds a V chord in a cadence.
• Often, the cadence will sound stronger due to the cadential six-four's presence.
• Examine the cadential six-four chord and its resolution to V.
• Some theorists prefer to identify the cadential six-four chord as a V with two nonharmonic tones.
• They often explicitly show the nonharmonic resolution in their analysis.
• Although we will use I, you should be aware of this alternate system.
• On the chord progression chart, the cadential six-four occurs in between predominants and dominants.