Inverted Triads in Minor … and the Vertical Dimension.
We note that the adoption of inverted triads in the Major Mode helped smooth out the voice
leading, and made life more interesting.
Though a few adjustments to the concept will be necessary to pull it off, we can expect
comparable enhancements from inversions in the Minor Mode.
Liberated from its confinement to chord roots, the bass becomes free to voice any chord tone.
Having three tones, a triad offers two possible inversions: The Six Chord (or Six-Three chord),
with the third of the triad in the bass, and the Six-Four Chord, with the fifth in the
bass.
The sets of figures shown here all represent the root position triad: The various number
combinations refer to the interval from bass note to an upper voice (i.e., in four-part
harmony).
A single digit refers to the interval from bass to soprano (plus an octave or two).
To create a Leading Tone in the Minor Mode, we raise the 7th degree of the scale by a
chromatic semitone, from SOL, to SI.
When this altered note is the third or fifth of a root position triad, the bass figure
has to be modified.
Follow along and listen!
Because the third of the chord is in the bass, a first inversion triad is figured 6, 6/3,
or 6 with an accidental underneath.
As we know, the fifth of the mediant triad or III chord is altered in minor; this is
reflected in the figuring on the right.
The figuring of a second inversion triad is "Six-Four."
Notice that we avoid doubling the G-sharp whenever it appears, because in the key of
a minor, G-sharp is the Leading Tone.
With or without figures, a root position triad in a minor is notated with A, C, and E over
the note A. A first inversion F Major triad is notated with A, C, and F over the same
note A, with A as the third of the triad.
Finally, a second inversion d minor triad is notated with A, D, and F over the note
A, said A being the fifth of that triad.
The same three triads, now with all their inversions, are notated here.
Notice how we avoid doubling the third in the upper voices of first inversions.
Do you remember the reason why?
These examples show all the triads of the key of A Minor,
all inversions, in close position.
Can you figure out and write in the correct Roman Numerals and Arabic figures to each
chord?
Okay, we've put in the Roman Numerals below the bass, and the Arabic figures above.
Did you rise to the challenge and figure it out for yourself?
Let's listen once more.
Remember, the Roman numerals are the scale degrees of the chord roots, the Arabic numerals
are the intervals from bass note to upper tones.
By the way, you also played these on your piano keyboard, right?
;-) Again we have First Inversion triads with
no doubling of the bass.
This is a good Rule, because the third of the triad determines whether it is major or
minor; the third is a prominent interval, and seems to stand out too much when we double
it.
But there are exceptions.
In a chord progression where two or more First Inversion triads succeed each other, the third
has to be doubled in one of them.
Depending on the situation, either of these examples might be feasible.
Thus we begin to revisit the concept of inverted triads, adapting the principles to Minor key
writing.
Be sure to Subscribe, Like, Share, and Comment if you have questions about what we've learned
so far.
Now, Food for Thought.
Assignment: Transpose all the Minor Mode Triads, in all their positions and inversions – as
shown here – to 3 different sharp keys – say, e, b, and f# minor – and to 3 other flat
keys.
Your choice.
After that, be sure to play everything on your piano keyboard!
[Music credit] Thank you for watching! [to be continued]
[Copyright © Mark Priest, 2017]
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