Part-Writing: Using Inversions

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Part-Writing:music theory Using for musicians andInversions normal people by toby w. rush when common practice composers used inverted chords in four-voice writing, they followed some general patterns regarding which note of the chord should be doubled. root position first inversion second inversion the doubling of first inversion triads depends on the type of the chord being written. in root in second position triads, in major first in minor first in diminished inversion triads, composers usually inversion triads, inversion triads, first inversion composers usually doubled the root, composers composers triads, they doubled the fifth, which is in the doubled the doubled the doubled the which is in the bass soprano bass bass bass or of the chord. of the chord. of the chord. of the chord. soprano of the chord. here’s another way to think of it: the only time you can’t double the bass is in first inversion major triads, where you should double the soprano instead. okay, we know how to use inversions in four-part writing... but when can we use them? the only “rule” regarding other than that, you can use root position triads 6 root position and first inversion and first inversion triads essentially whenever you want! is that diminished triads are vii° 6 it’s second inversion triads that always placed in first inversion. ii° have the big restrictions. 6 6 the cadential 4 chord the passing 4 chord is a tonic triad in is a chord placed in second inversion second inversion followed by a where the bass is root-position treated like a dominant chord passing tone: at a cadence. the middle note of a stepwise line 6 6 6 moving or F: I4 V I F: I V4 I up down. 6 the pedal 4 chord if you write a is a second inversion second inversion triad and chord where the it’s not one of these three situations, bass is treated like then you are not writing in the common a pedal tone: practice period style! the composers of a note preceded and the style just didn’t use these chords followed by the willy-nilly. same note. 6 F: I IV4 I licensed under a creative commons BY-NC-ND license - visit tobyrush.com for more.

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LearnMusicTheory.net 2.9 SATB Part Writing 5: Second Inversion Triads Second inversion triads double the bass and almost always follow one of these four patterns: 6 note voice exchange (marked "X")! 1. Passing 4 Bass moves by step up or down a third. 3 upper parts (any order): [OR] 1. Voice exchange: one voice has bass notes backwards In the example, bass is C-D-E, tenor is E-D-C. 2. Common tone: repeated note 3. Lower neighbor figure: from root of outer harmony 6 6 6 6 C: I V4 I C: I V4 I note upper neighbor pattern! 6 2. Pedal 4 Bass has the same note three times. 3 upper parts (any order): 1. / 2. Upper neighbor figure (2 parts): step up, then step down 3. Common tone: repeated note 6 C: I IV 4 I 3. Arpeggio 6 4 Any harmonic Bass leaps from the root or third of the same harmony. progression that fits the stylistic progression 3 upper parts repeat or freely arpeggiate, guidelines is possible. following stylistic guidelines. 6 C: I I 4 IV 4. Cadential 6 4th M3 4 above bass above bass **Bass is always the dominant pitch of the key!** Metrically stronger than the resolution chord: 1. 2-beat measures: Beat 1 only, resolves on beat 2 6th P5 2. 3-beat measures: Beat 1 or beat 2 (must then resolve on beat 3) above bass above bass 3. 4-beat measures: Beat 1 or beat 3 (must then resolve on beat 4) Bass repeats the dominant pitch.
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