Music Theory III (Kreeger)

Chapter 7: Contrapuntal Expansions of Tonic and Dominant:

Six-Three Chords

Triads in first inversion elaborate the tonic-dominant pillars within a phrase.

Chordal Leaps in the Bass: I6 and V6

Process for expansion between I and V:

1) Repeat initial chord.
2) Revoice soprano line on the repeated chord.
3) Rewrite bass line by using first inversion.

Root position triads are the most stable, but each subsequent inversion becomes less stable.

Moving between a chord’s root position and first inversion is analogous to revoicing the upper voice
of a harmony.

1
 Neighbor Tones in the Bass (V6)

Although the V6 chord only embellishes the flanking tonic chords, we view it as a neighboring
chord.

Another Neighboring Motion

The V6 can also be used as an incomplete neighboring chord. The most common type of
incomplete neighbor occurs when i6 is followed by V6, which then returns to i.

Voice Leading and Doubling Rules for I6 and V6

1. Keep common tones (unless you use a voice exchange, which often requires movement in
multiple voices).
2. When possible, double the root.
3. Never double the Leading Tone.
4. If the bass is not doubled, choose one of the following spacings for first inversion triads:
- Doubled Unison—two voices share the same pitch at unison.
- Neutral position—two voices share the same pitch at the octave.
5. Subordinate harmonies, especially those that neighbor, usually appear on metrically weak
beats or parts of beats.

2
 Passing Tones in the Bass: vii°6
The vii°6—rather than ii in root position—is used when harmonizing the bass passing tone (second
scale degree).

vii°6 is a perfect passing chord because:

1. It is an unstable diminished sonority and demands continuation to a more stable sonority,
such as I6.
2. It shares notes with V and V7, which work well as passing chords. We call vii°6 a dominant
substitute.
3. It is in the first inversion and therefore is more likely to be a contrapuntal chord.

Voice Leading for vii°6

1. Never double the Leading Tone.
2. Try to double the third of the chord (scale degree 2) which may move to scale degree 1 or 3.
3. If possible, resolve the tritone, but it is common not to resolve the tritone if:
-It leads to a complete tonic triad.
-It does not involve the bass.
-The Bass and Soprano move by parallel tenths.

Tonic Expansion the Long Way: Descending a Sixth from Scale Degree 1 to 3
We know that I6 expands I, with the bass ascending by a third (from scale degree 1 to 3).
Sometimes, the bass moves from I to I6 by falling a sixth, from scale degree 1 to 3.

IV6 as Part of Arpeggiation

The large leap of a sixth is often split into the arpeggiation 1–6–3 by the addition of a new chord:
IV6.

3
 Dominant Expansion with Passing Tones: IV6
Just as the tonic may be expanded with a passing vii°6 chord, so too may the dominant be expanded
by a first inversion IV6 chord.

Voice Leading for V–IV6–V6

-In minor keys, scale degree 6 must be raised to avoid an augmented second between scale degree
six and seven—this results in a major IV6 chord.

-Avoid parallel 5ths and 8ves in IV6–V6 by moving the upper voices in contrary motion to the bass.

Combining First Inversion Chords

Extended prolongations of the tonic are common.

Summary