chapter eight Flashcards
3 main reasons triads are used in first inversion
- to IMPROVE contour of bass line
- to PROVIDE greater variety OF PITCHES in bass line
- to LESSEN the weight of V and I chords that do not serve as the goals of harmonic motion
- the diminished triad was used almost exclusively in first inversion because there’s no resolution in a tritone
Only the first inversion contains no augmented nor diminished intervals. Because of this, composers prefer first inversion diminished triads.
want the triads used in first inversion to sound melodic, not conclusive
in a deceptive progression (V-VI), it cannot end in vi6 because it sounds like a I played wrong
- a correct use of vi6 is in between root position I and root position ii because vi6 avoids parallel fifths in I and ii chords
the vi6 is typically avoided because it sounds like a I played wrong
in a three part texture, if a tone is omitted, is is usually the fifth of the chord. if a tone is to be doubled, any tone but the leading tone will work (more acceptable to double third or fifth but you can still double the root)
in four parts soprano and bass are most likely to be doubled (a & b)
root chords emphasized especially if there’s slash chords ex. c/e which is c in first inversion so Egc
slash chords
a series of II 6th chords aka II first inversion triads are often found in sequences
II 6th chords= II 1st inversion triads
diminished triads are usually used in first inversion rather than in root position
canon= never ending
rounds= ending
canons and rounds make use of imitative counterpoint- the repetition of a main melodic idea across different vocal parts, with or without variation.
MAJOR:
IV viio
iii, vi, ii, V, I
MINOR:
iv viio
VII, III, VI, iio, V, i
Doubles root often leads to II octave
inversions are indicated in lead-sheet symbols via slash chords
