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 PA R A L L E L F I R S T- I N V E R S IO N T R I A D S

We know that the second chord in the model for a sequence often helps voice leading by
avoiding potential parallels. Sometimes composers wish to use a parallel-motion chord
stream. The only way to write a series of triads that move in strict parallel motion is to
employ first-inversion chords (in three voices). This is the solution that composers have
used since the fifteenth century. As with sequences, a series of parallel first-inversion tri-
ads serves either to prolong a harmony or as a transition between harmonic functions
(Example 3.2A).
Composers who wished to write parallel first-inversion triads in four voices were faced
with the problem of parallels. The solution is to have three voices in parallel motion and
an inner voice use the following pattern: double the soprano, double the bass, double the
soprano, double the bass, and so forth. (You can also start by doubling the bass.) Example
3.2B presents the voice leading and doublings (shown with brackets).
Passages that are written in parallel six-three chords are not strict sequences. Yet such
passages function the same as sequences, especially when embellishing tones, such as sus-
pensions, occur on every other six-three chord. Thus, in some sense, this approximates the
two-chord model necessary for true sequences. Parallel six-three chords sound more like
musical insertions or interpolations than sequences. Although, like true sequences, they
prolong a harmonic function or lead to a new harmonic function and create an impression

EXAMPLE 3.2 Parallel Six-Three Chords

A. In Three Voices

6 6 6 6
C: I 6
IV 6 V 7 I
par 3

B. In Four Voices

6 6 6 6
C: I
6
IV 6 V7 I
par 3

9780199347094_35_App3_pgA54-A60.indd 55 10/6/15 10:27 AM

 more of stalling for time than of goal-directed motion. Let’s examine two examples of
parallel first-inversion triads from Handel’s keyboard works (Example 3.3).
In Example 3.3A, the parallel first-inversion triads ascend and are part of a tonic expan-
sion; ascending lines occur, but descending lines are more common. In Example 3.3B, the
parallel first- inversion triads contain 7–6 suspensions, a common procedure in
descending lines.

EXAMPLE 3.3 Parallel Six-Three Chords in Context

STR EA MING AUDIO

A. Handel, Suite IX in G minor, Gigue W W W.OUP.COM/US/LAITZ
10

10
cresc. 10 10 10
10

6 6 6 6
B : V I I ii 65 V I

B. Handel, Suite XIII in B major, Allemande

16 dim.

10
10 10 10 10

B : V6 5
I V 6 7 6 7 6 7 6 7 6
I
4 3 3 3 3 3

V I

9780199347094_35_App3_pgA54-A60.indd 56 10/6/15 10:27 AM