4.3 Voice Leading with Inversions

Triad inversions shake up your chord progressions by changing which note is in the bass. First inversion puts the third on the bottom, while second inversion uses the fifth. This creates smoother voice leading and more interesting bass lines.

Inversions affect how we double notes in chords too. In first inversion, we usually don't double the bass. For second inversion, doubling the bass (the chord's fifth) is common. These choices help balance the sound and keep things stable.

Triad Inversions

First and Second Inversion Triads

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• First inversion triads have the third of the chord in the bass (lowest voice)
  • Figured bass notation for first inversion triads is 6/3 ($\frac{6}{3}$)
  • Example: C major triad in first inversion (E-G-C)
• Second inversion triads have the fifth of the chord in the bass
  • Figured bass notation for second inversion triads is 6/4 ($\frac{6}{4}$)
  • Example: C major triad in second inversion (G-C-E)
• Inversions provide variety in the bass line and allow for smoother voice leading

Doubling in Triad Inversions

• In first inversion triads, the bass note (third of the chord) is typically not doubled
  • Doubling the root or fifth is preferred to maintain a balanced sound
  • Exception: In a first inversion diminished triad, the third may be doubled to avoid parallel octaves or fifths
• In second inversion triads, the bass note (fifth of the chord) is typically doubled
  • Doubling the fifth helps to stabilize the second inversion and prevent it from sounding too unstable
  • Doubling the root is also possible, but less common

Bass Line and Voice Leading

Effective Bass Line Movement

• The bass line should move primarily by step (seconds) or small leaps (thirds or fourths) for a smooth and coherent progression
  • Stepwise motion in the bass creates a strong sense of direction and connection between chords
  • Example: C - Am - F - G (bass line moving by step and small leap)
• Larger leaps in the bass (fifths or sixths) can be used sparingly for variety or to emphasize important harmonic changes
  • Example: C - G - Am - F (bass line with a leap of a fifth between C and G)
• Avoid awkward or disjointed bass line movement, such as large leaps followed by a leap in the opposite direction

Resolving Tendency Tones in the Bass

• When tendency tones (leading tone or chordal seventh) appear in the bass, they should resolve according to their natural tendencies
  • Leading tone in the bass should resolve up by step to the tonic
  • Chordal seventh in the bass should resolve down by step
• Failure to resolve tendency tones properly can create a sense of incompleteness or instability in the progression
• Example: V$^6_5$ - I (bass line resolving the leading tone up to the tonic)

Types of 6/4 Chords

Cadential 6/4 Chord

• Occurs at a cadence point, typically before the dominant chord in a perfect authentic cadence (PAC)
• Functions as an embellishment or prolongation of the dominant harmony
• Figured bass notation: $\frac{6}{4}$ - $\frac{5}{3}$ (I$^{6/4}$ - V)
• The bass note (fifth of the chord) is doubled and resolves down by step to the root of the dominant chord
• Example: I$^{6/4}$ - V - I (C$^{6/4}$ - G - C)

Passing 6/4 Chord

• Occurs between two chords a third apart, with the bass line moving by step
• Serves as a smooth connection between the two chords, creating a passing motion
• Figured bass notation: $\frac{6}{4}$ between two chords a third apart
• The bass note (fifth of the chord) is typically not doubled
• Example: I - V$^{6/4}$ - vi (C - D$^{6/4}$ - Am)

Pedal 6/4 Chord

• Occurs over a sustained bass note (pedal point), usually the tonic or dominant
• Provides a sense of harmonic stability and reinforces the pedal point
• Figured bass notation: $\frac{6}{4}$ over a sustained bass note
• The bass note (fifth of the chord) is doubled and remains constant while the upper voices move
• Example: I - IV$^{6/4}$ - I$^{6/4}$ - V (C - F$^{6/4}$ - C$^{6/4}$ - G) over a tonic pedal (C)