3-3 FIRST INVERSION PROGRESSIONS
10. Tonic and Dominant Triads.
a. Connecting the I6 and the V; the i6 and the V (Figure 3-32). The first inversion tonic chord is one of the most useful of the first inversion triads. It provides relief from the finality of the tonic chord in root position when the tonic triad is written within the phrase.
Figure 3-32. Connecting I6 and V; i6 and V
Figure 3-33. Chromatic Sign in the Figured Bass
b. Connecting the I and the V6; the i and the V6 (Figure 3-34). The dominant triad in the first inversion has the leading tone in the bass voice. This creates a strong melodic significance to the bass line. The bass voice usually resolves up a half step. The tonic chord in root position usually follows the first inversion dominant triad.
Figure 3-34. Connecting I and V6; i and V6
c. Connecting the I6 to the V6; i6 to the V6 (Figure 3-35).
Figure 3-35. I6 to V6; i6 to V6
11. Tonic and Subdominant Triads.
a. Connecting the I6 and the IV; i6 and the iv (Figure 3-37).
Figure 3-37. I6 and IV; i6 and iv
b. Connecting the I and the IV6; i and iv6 (Figure 3-38).
Figure 3-38. I and IV6; i and iv6
c. Connecting the I6 and the IV6; i6 and iv6 (Figure 3-39).
Figure 3-39. I6 and IV6; i6 and iv6
12. Subdominant and Dominant Triads.
a. Connecting the IV6 and the V; iv6 and the V (Figure 3-41).
Figure 3-41. IV6 and V; iv6 and V
b. Connecting the IV6 and the V6 (Figure 3-42).
Figure 3-42. IV6 and V6
|David L. Heiserman, Editor||
Copyright © SweetHaven
Revised: June 06, 2015