Additional 6/4 chords

AP Music Theory Study Guide: Additional 6/4 Chords

Greetings, future Mozarts and mini-Bachs! Today, we’re diving into the wonderful world of 6/4 chords—a magical place where even the most “basic” chords get a glamorous second inversion spin. Buckle up, because this ride is going to rock (pun totally intended). 🎸🎶

Let’s start by acknowledging how 6/4 chords work in harmony. These chords get their dazzling name from being in the second inversion, meaning the fifth of the chord sits smugly in the bass, like a cat that’s claimed your favorite chair. Just like that cat, the rest of the chord kind of revolves around it. Sure, they’re technically “weak chords,” but weak doesn’t mean boring. Think of them as the glitter to your glue—they add sparkle where it’s needed most.

Neighboring or Pedal 6/4 Chords

These chords are the wallflowers of the music world—hanging around, keeping things interesting without making a fuss. A neighboring or pedal 6/4 chord occurs when the third and fifth of a root-position triad are "fashionably late" and arrive as upper neighbor tones while the bass note stays put like a stubborn goat. For example, in Ab Major, if you play a root position I chord with an Ab in the bass, adding a IV 6/4 chord (still with Ab in the bass) can adorn your I chord like a lovely musical necklace.

Here’s an analogy: Imagine you’re sitting still, but your arms are waving dramatically. That’s your pedal 6/4 chord—steady feet (bass) with animated arms (upper voices).

Passing 6/4 Chords

Next, we have passing 6/4 chords. Picture this: you're sneaking in and out of rooms at a party to get to the snacks without socializing much. Passing 6/4 chords do just that—they smoothly transition between two more static chords.

Passing tones are like the musical equivalent of sliding into the DMs, creating a transition that’s barely there but oh-so-important. For some melodic spice, you might start with a I chord, then slide into a V 6/4 chord before landing another I chord. That passing 6/4 chord adds a dash of excitement without changing the core tonic harmony.

Consider this visual: In Eb Major, you might have a bass line that moves in an elegant stepwise motion from Eb to F to G, where the F is harmonized by a V 6/4 chord.

Arpeggiated 6/4 Chords

Finally, let’s hit on the glamour of arpeggiated 6/4 chords, where we turn our chords into glitzy, broken sounds as if played by a classical guitar maestro. Imagine a chord that doesn’t just sit there but splays itself out, note by note—like descending the steps of a grand staircase at the ball.

Write a beautiful I chord followed by a I6 chord and then a I 6/4 chord for an arpeggio effect that makes your bass line sing (not literally, though that would be cool). Think of a waltz, where you might hear a I chord on the strong downbeat, followed by two I 6/4 chords on the lighter upbeats.

Voice Leading with 6/4 Chords

Voice leading with 6/4 chords can be like a choreographed dance. Your chord should land on a weaker beat (like the second beat in 4/4), and the upper voices should glide stepwise to and from the passing 6/4 chord. Picture a ballroom dance where the couple elegantly steps through the measures, maintaining grace and cohesion—no toes should be stepped on!

Rules and Tricks (Because Even Musicians Have Rules)

Certain chord progressions are like trying to push open a pull door—they just don’t work. Avoid progressions such as V-IV, V-ii, or ii-I. Remember our phrase T-PD-D-T (Tonic, Predominant, Dominant, Tonic)? Moving backwards disrupts the natural flow of your musical masterpiece.

Here’s another “No-No” list: steer clear of root position viio chords, vi6, and iii6 chords, unless you’re looking to create an awkward family dinner moment in your music. They’re rare for a reason.

Key Terms to Master

• Arpeggiated 6/4 Chords: Chords where notes are played sequentially, not simultaneously, creating a broken effect. An ascending C Major arpeggio would be C-E-G, while a descending one is G-E-C.
• Cadential 6/4 Chords: Chords used to create a sense of finality, typically appearing at the end of phrases.
• Chord Progression: A series of chords played in succession to build the backbone of a piece.
• Dissonance: Combining musical notes that sound tense or unstable, usually resolving to a more consonant sound.
• Dominant Scale Degree: The fifth note of a scale, creating tension that resolves to the tonic.
• Harmonic Value: The significance of a chord within a musical context.
• IV 6/4 Chord: A chord built on the fourth scale degree with notes played simultaneously in a specific voicing.
• Melodic Interest: Elements in a melody that captivate and evoke emotional responses.
• Neighboring 6/4 Chords: Two consecutive root-position chords with bass movement by step and static upper voices.
• Non-Chord Tone: A pitch not part of the underlying chord, adding tension before resolving.
• Passing 6/4 Chords: Transitional chords connecting two harmonies, involving chromatic movement.
• Pedal 6/4 Chords: Chord progressions where the bass note remains stationary.
• Predominant Function: Chords that create tension and prepare for the dominant function.
• Tonic Harmony: Chords based on the tonic, providing stability and resolution.
• V 6/4 Chord: Chords built on the fifth scale degree, usually in a specific voicing.
• Voice Exchange: An arrangement technique where two voices exchange melodic material.
• Voice Leading: The smooth movement of individual melodic lines from one chord to another.

Conclusion

Congratulations! You’ve scaled the heights of 6/4 chords and now have a newfound appreciation for these sneaky but essential embellishments in music. Whether you’re hoping to add a sparkle of passing tones or the elegant sweep of an arpeggio, these 6/4 chords are your best friends. So go ahead, composer extraordinaire—create melodies that make Mozart envy your style! 🎵✨

Now venture forth and let your compositions shine brighter than a thousand glitter bombs!