My all-time favourite example of a tonic chord in second inversion is when Schumann ends his Romance Op. 28 no. 2 with it in the final bar, giving us a sense of longing and hope of more to come (because of the instability as you described!) A more typical functional example is how Mozart typically uses it before a cadenza in his concertos. Once again, being unstable makes it a great springboard for the soloist to take off and then end with a V-I in style.
Thanks so much for these great videos. I'm trying to write a string quartet for a composition with basic composition knowledge and many of your videos have helped visualise and outline what I couldn't understand.
I think it's because of the harmonic series. You hear more harmonics of the bass note than of other notes in the chord. And the harmonics you generally hear, although there are others, are the octave, the fifth and the third. So when you play any note, it's like playing a major chord. In a root position chord, this is all fine since the audible harmonics are in the chord anyway. In other inversions of a C chord, the bass note is not a C and the harmonics start to introduce other notes such as B (in a first inversion chord, being an harmonic of E) and both a B and D (in a second inversion chord being harmonics of G). In the first inversion, there is one audible discordant note (B), and in the second inversion, there are two discordant notes (D and B). I say discordant, but they don't actually sound bad, just a little less stable.
We often overlook the intervals within a chord, and worse completely ignore the intervals caused by the harmonics. In first inversion the harmonic B above E and the C are discordant resulting in some instability. This is why a perfect cadence doesn’t end on the tonic in 1st inversion. In second inversion the harmonic D is now discordant to both the C and E making it doubly unstable, which is why they resolve by step to B and D respectively.
Let's think of the circle of fifths. The first row resolves upwards, F->C. The second example resolves downwards, G->C. The last one upwards again. So both directions are possible. What about G->C->F and F->C-G. I experienced with it and the tune Plaisir d' amour came into my fingers. It was taking this ways for the chords.
Useful and interesting. Do the same kind of guidelines apply to 7th chords - for example 2nd inversion of any 7th chord, or indeed going further, 3rd inversions of 7th chords? Much jazz music litters the scores with 7ths - not to mention other notes!
What are the rules on second inversion chords on something other than chord I? It seems to be completely acceptable and common to use all of those, right? Also, what's the correct way to label chord V in second inversion, since V64 is a canonical way to denote I in second inversion.
V64 is fine. In the U.K. we label root positions a, first inversions b and second inversions c. Other second inversions generally act in the same way as explained in the video.
True. It's called a Cadential 64, and is under the V chord umbrella: V64-53. You encounter that in several books of reference like Aldwell's Harmony &Voice Leading.
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My all-time favourite example of a tonic chord in second inversion is when Schumann ends his Romance Op. 28 no. 2 with it in the final bar, giving us a sense of longing and hope of more to come (because of the instability as you described!)
A more typical functional example is how Mozart typically uses it before a cadenza in his concertos. Once again, being unstable makes it a great springboard for the soloist to take off and then end with a V-I in style.
Completely agree
Amazingly explained! You should get a public price for your videos!! Thank you so much...
Glad it’s helpful. Much more at www.mmcourses.co.uk
Thanks so much for these great videos. I'm trying to write a string quartet for a composition with basic composition knowledge and many of your videos have helped visualise and outline what I couldn't understand.
That’s great. Glad it’s helpful.
Fascinating. I never thought of that. The first measure (the 6/4 5/3 progression) sounds like the "A-men" that's in many hymnals.
Absolutely
Very clear explanation. I learned about the cadential 6 4, but not enough about the context in which it is normally used👍
😀
I never realized that the second inversion have been instable all those years. Just like my relationship.
😀
I think it's because of the harmonic series. You hear more harmonics of the bass note than of other notes in the chord. And the harmonics you generally hear, although there are others, are the octave, the fifth and the third. So when you play any note, it's like playing a major chord. In a root position chord, this is all fine since the audible harmonics are in the chord anyway. In other inversions of a C chord, the bass note is not a C and the harmonics start to introduce other notes such as B (in a first inversion chord, being an harmonic of E) and both a B and D (in a second inversion chord being harmonics of G). In the first inversion, there is one audible discordant note (B), and in the second inversion, there are two discordant notes (D and B). I say discordant, but they don't actually sound bad, just a little less stable.
That’s certainly an aspect of the issue.
We often overlook the intervals within a chord, and worse completely ignore the intervals caused by the harmonics. In first inversion the harmonic B above E and the C are discordant resulting in some instability. This is why a perfect cadence doesn’t end on the tonic in 1st inversion. In second inversion the harmonic D is now discordant to both the C and E making it doubly unstable, which is why they resolve by step to B and D respectively.
@@Inventio13 Yes that's logical. Thanks for the extra clarification.
@Inventio13 😀
😀
Always good stuff. Thank you
Glad it’s helpful
Great video. So clear.
😀
It's worth noting that in 4 parts the bass of the second inversion is doubled rather than the root being doubled.
Yes. It gives you two parts using common notes.
I use this a lot to accent a certain note but to keep the fullness of the chord.
😀
Class explanation
Most kind
Let's think of the circle of fifths. The first row resolves upwards, F->C. The second example resolves downwards, G->C. The last one upwards again. So both directions are possible.
What about G->C->F and F->C-G. I experienced with it and the tune Plaisir d' amour came into my fingers. It was taking this ways for the chords.
You can go either way with these kinds of progressions.
Totally helpful~
Good to hear. Much more at www.mmcourses.co.uk
Useful and interesting. Do the same kind of guidelines apply to 7th chords - for example 2nd inversion of any 7th chord, or indeed going further, 3rd inversions of 7th chords? Much jazz music litters the scores with 7ths - not to mention other notes!
Second inversion extension chords are different in that voice leading usually takes us somewhere in particular.
Hello
Could you please make a video about II7 III7 VI7 VII7 in both major and minor keys in the classical harmonic progression?
Ok
Could you please make a course for developing aural skills for the ABRSM exams?
We have courses for aural tests for every single ABRSM grade. These are available under ‘courses’ at www.mmcourses.co.uk
What are the rules on second inversion chords on something other than chord I? It seems to be completely acceptable and common to use all of those, right?
Also, what's the correct way to label chord V in second inversion, since V64 is a canonical way to denote I in second inversion.
V64 is fine. In the U.K. we label root positions a, first inversions b and second inversions c. Other second inversions generally act in the same way as explained in the video.
Rule #1 of 2nd inversion: A 2nd inversion tonic chord is NOT a tonic chord
It’s a tonic chord in second inversion.
@@MusicMattersGB But it does not function as a tonic chord
Admittedly a tonic in second inversion usually progresses on to a dominant chord but that doesn’t stop it being a tonic chord with a function.
True. It's called a Cadential 64, and is under the V chord umbrella: V64-53. You encounter that in several books of reference like Aldwell's Harmony &Voice Leading.
@r1chybaker Absolutely but it’s still a tonic chord in second inversion.
The first rule of second inversion chords is you don-'t talk about second inversion chords.
They’re great in the right places.
Where a I V sounds like a V I 😅
You’ve lost me there. 😀
@@MusicMattersGB The I is coming home to the V, usually the other way around
Ok. Got you.