[Inverted Triads in Minor – Conclusion: Doubling, and Leading Tone Treatment.]
We recall from our study of inversions in the Major Mode that it is often better to
not double the bass note of first inversion triads, but a doubled bass is the norm for
the 2nd inversion.
Moreover, ... … when a Leading Tone triad is inverted,
the ROOT of the chord – as the Leading Tone – must NOT be doubled.
If it is the First Inversion, it is best to double either the third (which is the bass
note), or the fifth.
... The case of two or more First Inversion Triads
connected in succession is special.
For the sake of natural voice leading, you can go ahead and double the bass of one of
the Six Chords.
In a series of Six Chords, we HAVE to double the bass note of every other triad.
Understand that, IF we DID NOT double the bass of ONE of the chords, there would
be parallel fifths and parallel octaves, which is faulty voice leading.
Second Inversion Triads prefer the doubled Fifth of the chord, which is of course the
bass note.
You may sometimes double the "Four" of the Six-Four chord, which actually is the
Root of the triad.
Less common in this inversion is the doubling of the Six – which is the Third of the triad
– only when a more natural voice leading suggests it.
As to the distribution of chord tones among the upper voices, there are several possibilities
in first inversion, whether in close position, or open position.
It is similar for the Second Inversion position; there is much leeway of choice as to the distribution
of chord tones.
Close position, and open.
As a reminder: Two or three consecutive figures over a single bass note share equal parts
of the total duration of the bass note.
The examples shown here can be realized in more than one way: …
For example:
Everything discussed previously, about choice
and prevalence of specific inversions in Major, also applies to Minor.
The Tonic Six-Four Triad occurs most often at cadences, on the accented, or downbeat.
Six-Four chords in the middle of an exercise are rare, usually on an upbeat, and hardly
ever in succession.
A Six-Four chord on an upbeat may be preceded by a triad containing a tone in common with
the fifth or root of the Six-Four itself.
We say that this tone is "prepared" and thus sustains into the Six-Four chord that
follows.
The example shows three such "Passing Six-Four" chords.
Students will want to work out these two exercises.
Start by adding the rest of the Roman numerals, marking scale degrees of chord roots.
Next, work out the upper voices.
Once finished, it is always good to play it through on a piano keyboard.
You may find it necessary to double the third of some triads, to avoid forbidden parallels
and such.
Be careful whenever an inverted triad contains the LT, and DO NOT DOUBLE THAT ONE!
Well, that's it for this introduction of basic concepts pertaining to progressions
of triads in the Minor Mode!
Post a question or comment, subscribe, share a link, and if you like this installment be
sure to tap that "thumbs up" button!
[Food for Thought:] Intrepid students ought to try working out the "More Difficult Exercises" (major
and minor keys), found on pp. 50-51 of the Manual of Harmony.
See link in the description.
Be sure to transpose your work to the specified keys as well, then play everything on your
piano keyboard. [credits]
Thank you for watching!
[Copyright © Mark Priest, 2017]
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