Triads in 1st Inversion

 Often times composers will use triads in first inversion to break up the monotony of the standard movement of chords we studied last chapter (the circle of fifths progression). In last chapter we learned that since the iii chord is an especially weak one, often times seeing the third scale degree in the bass will signify a tonic chord in first inversion. This allows for the bass to move around in the logical progression, while keeping all chords strong in the progression. Inversions also allow us to prolong certain functions, as the book does on page 123. Notice that they use the V65 chord to prolong the dominant function, creating a more interesting texture.

 

We often see inversions happen due to bass arpeggiation. This is when a composer explores the notes of the triad in the bass while keeping the same function. Some classical music includes a constantly arpeggiated bass line, such as the Candyman example we will listen to in class.

 

There are three major uses of the triad in first inversion:

  1. To improve the contour, or the motion, of the bass line.
  2. To provide a greater variety of pitches to be chosen from for the bass line.
  3. To make the uses of the V and I chords that do not serve the dominant to tonic function.

The last example can be seen in the book in example 8-3 and 8-4. The composers use a V6 and V65 chord respectively to make the dominant function weaker in the middle of the phrase. This allows for the final dominant to tonic to be strong and have a feeling of closure.

 

We will also see diminished triads in first inversion often, especially in classical repertoire. This is because classical composers only found these triads acceptable if all the intervals from the bass were consonant. Look at the chart on page 126 to see how in first inversion, all the intervals from the bass are consonant.

 

Composers will sometimes use a sequence of parallel 6th or first inversion chords (the name comes from the figured bass label of the first inversion chord as 6) just as they use a sequence of root position chords. In the case of parallel 6th chords, they are used as a sequence of passing chords to move from one chord to another. In Example 8-9 on page 128, they show a part of Haydn Symphony no. 104 in which he uses this technique.

 

Notice that the parallel 6th chords serve to connect the tonic chord to another tonic chord.  In the textural reduction, we see that the bass could have continued descending (as opposed to raising a 7th) if we wanted from the D3 to the C#3 (as opposed to the C#4). The technique employed by Haydn to avoid unacceptable parallels is to put the root in the melody of each passing 6th chord, creating an acceptable P4 in each chord.

 

Part Writing in First Inversion

Opening up the option of part writing with first inversion chords gives us more of a palate to make interesting music, as opposed to the clunky feeling of all root position chords. As before, we should attempt to use the same spacing and voice leading when we can. The conventions for writing four part textures using first inversion triads is as follows.

 

  1. In a composition that uses counterpoint, or independent voices like we have become accustomed to, the doubling  to use is the one that will help us the most with voice leadings.
  2. In a homophonic texture, in which consists of a melody with chords underneath, the doubling used should be one that provides the desired sonority, or sound.
  3. In all cases, you should avoid doubling the leading tone, because its tendency will create parallel octaves.

We should get to know the sound of different doublings, so we can choose our desired sonority when composing homophonic pieces. The example at the top of p.131 shows us a variety of spellings. As we listen to them, take note of their attributes so you can know which you want to use in your own compositions. Take note in Example 8-12 that you doubling the leading tone is difficult to make happen without parallel 8ths.

 

In three part textures, all three voices of the triad should be present in the spelling. If a chord tone is going to be left out, it should be the 5th.

 

Soprano- Bass Counterpoint

Through the use of inversions, we can begin to make our bass lines and soprano lines interact in more interesting ways than when we had only root position chords. The book defines Counterpoint as the combining of relatively independent musical lines. The lines are relatively independent, because we still expect them to not have unacceptable parallel movement, to follow the harmonic progression we learned about in the past chapter, and to be related at least in key and time signature. So independent in this case means that each line will move on it’s own, both in contour and rhythm. Look at Example 8-15 on page 133. While this is effective part writing, it is not counterpoint, because the lines have the same counterpoint. While the examples in 8-16 still have identical rhythm and contour, the fact that they are offset by a measure make them a contrapuntal form called a canon. We have all used this technique of imitation in songs like Row Row Row Your Boat. This technique is referred to imitative counterpoint. This is not the most common form of counterpoint, but is worth taking note of.

 

In Example 8-17, we see counterpoint between the soprano and bass. The book denotes each voices movement as Parallel (P), Similar (S), or Contrasting (C), terms we learned in earlier Chapters. We can see that at times the voices move exactly the same, in contour, direction, and interval, and at other time they move in different directions and intervals. This Bach example is 1:1 counterpoint, or first species, because it has varying contour but not varying rhythm. In Example 8-18, Bach varies the harmonization by adding oblique motion.

 

The text will often take a complicated piece and strip it of its repetitions and embellishments to get down to the basic chord structure for analyzation. In the Bach piece, they cut out its movement back and forth to the lower note, or neighbor motions. This stripped down textural reduction shows us the movement of the chords in a way easy to see the movement.

 

Counterpoint became popular during the composition of music in the Baroque music (or Western Classical music composed between 1600-1750). Not all composers used counterpoint, but it was quite common to see voices working in contrapuntal functions with each other. Composers in later periods also used counterpoint in such forms as canon (which we already discussed) as well as in fugues. A fugue is a form of music in which a main melodic idea (called a subject) is introduced and then is moved around the group. Each restatement works in counterpoint of the last one, and each new voice takes a different form of imitation of the subject. Most classical music after the 1750s involves some sort of counterpoint between the soprano and bass, with the inner voices serving to flesh out and enhance the harmonization.

 

When we compose, either from scratch or from a given bass line or soprano line, we should strive to have good counterpoint between the soprano and bass. The melodies of the Soprano should be simple, and should move in counterpoint to the effective bass. These voices should move contrary to each other when possible, because this serves to make the piece interesting to the listener. Example 8-20 shows a good example of Soprano-Bass counterpoint in a Mozart piece. Notice that the counterpoint is relatively simple, but that there is no parallel movement in the outer parts. This makes the parts interesting, and allowed Mozart to compose a pleasing melody.