Cadential Six-Four (and others)

Question 1

What is a cadential 6-4

Answer 1

V6-4 - I
4-3

I chord over V bass prolonged going to a V chord

Question 2

Where does it occur?

Answer 2

in a metrically stronger position that its resolution on the 5-3

Question 3

What do we have to prepare?

Answer 3

the fourth should be approached from a common tone or from a step above

Question 4

Usual doubling?

Answer 4

the octave above the bass (usually in alto)

NEVER double the 4th above the bass

Question 5

Best chords of approach?

Answer 5

tonic or one of the intermediate harmonies - nothing with a dominant function

Question 6

special in minor?

Answer 6

the third above the bass is raised (leading tone) so it shows 4-# instead of 4-3

Question 7

moving to V7 rather than V

Answer 7

V8-7
6-5
4-3

Question 8

if a strong move to the cadence is not wanted

Answer 8

the cadential six-four moves to a V4/2 which then resolves to I6

Question 9

unusual doubling of the 6th above the bass rather than the octave

Answer 9

one of the 6ths will ascend to the 7th rather than the 5th

usually in an inner voice

Question 10

Common soprano lines that indicate intermdiate - cadential 64 - tonic

Answer 10

4-3-2-1 –> IV - V(C64) - I

2-1-7-1 –> ii6 - V(C64) - I

Question 11

Pedal 6/4

Answer 11

above a stationary bass the upper voices move 5-6-5 and 3-4-3

weak place metrically

bass is doubled

most commonly used to expand I

Question 12

Arpeggio 6/4

Answer 12

shifting back and forth between differnt positions of the same chord dude to arpeggiation in the bass - the rest of the chord is held in upper voices

usually for tonic eg) I-I6/4-I6-V

metrically weak, double the bass
not common in chorales

Question 13

Passing 6/4

Answer 13

connect two positions (eg: root and first inversion) of the same chord with stepwise passing motion in the bass

often voice exchange from first to third chords

metrically weak, double the bass

I-V6/4-I6 is most common