Music Theory : Chapter 8

Triads in First Inversion

Triads in First Inversion

Listen and compare these two examples Most phrases of tonal music contain at least one inverted chord Root position does not equate to poor composition, depends on effect Classical Period used much root position

Bass Arpeggiation
One way to vary a bass line is to arpeggiate (use broken chords) When analyzing, include all notes of the chord together (each note does not indicate a new inversion)

Substituted First Inversion Triads

First inversion triads are often used as substitutes for root position triads instead of coming about through bass arpeggiation Three reasons to use inversions:
Improve contour of bass line Greater variety of pitches Lessen importance of V and I chords

Parallel Sixth Chords

Most phrases balance inverted/non-inverted chords Some phrases call for parallel first inversion chords (sixth chords) Most often used as passing chords connecting a chord at the beginning to a chord at the end of a phrase

Checkpoint
What are the three uses of first inversion triads? What type of triad (major, minor, diminished) is usually used in first inversion rather than in root position? How are inversions indicated in lead sheet symbols?

Part writing First Inversion Triads

Four- Part Textures
Inverted triads are nearly always complete in a four-voice texture (one must be doubled)
1. In a contrapuntal texture, use the doubling that leads to the best voice-leading 2. In a homophonic texture, the doubling should be one that provides the best sonority In any texture, do not double the leading tone Ex. 8-10, 8-11

Three-Part Textures
Inverted triads are usually complete in threevoice textures, no doubling Incomplete do occur less often The member of the chord most often omitted is the 5th (cannot be the 3, as it is in the bass) Ex. 8-12, 8-13

Soprano-Bass Counterpoint
First inversions allow for more interesting and musically satisfying bass lines COUNTERPOINT the combining of relatively independent musical lines In tonal music, contrapuntal relationships are governed by certain voice-leading rules and by conventions of harmonic progression The lines must fit within the context of the style of music (ex. Two melodies in different keys would make no sense) Independent means having its own unique rhythm and contour Contour is more important (ex. 8-14, 8-15)

Cont.
Identical rhythms and contours, offset by a measure, will lead to canons/rounds. Imitative Counterpoint -

Soprano-Bass Counterpoint
Ex. 8-16 Bach gives soprano/bass different contours PSC (paralle vs. similar vs. contrary) Ex. 8-17 Neighbor Motions step down and back up in the sop, step up and back down in the bass

Soprano-Bass Counterpoint
Where in tonal music is there much counterpoint? THE BAROQUE (1600-1750) Fugue a piece in which each voice states a short theme (the subject) which is tossed from voice to voice and slightly varied, fragmented, and developed Self-Test 8-1