Lesson 11b - Voice-leading for First and Third Inversion Chords

Class Discussion

Voice-Leading for First and Third Inversion Chords

First inversion chords make tendancy tones the top priority. First inversion chords put the chordal third in the bass, which locks you in to resolving the bass line a cetrain way.

The third wants to resolve down to the root of the next chord. The seventh wants to resolve down to the third of the next chord.

First inversion triads want to resolve to the next chord in root position. Third inversion seventh chords want to resolve to a first inversion of the next chord.

Example:

Lead Sheet: C - G/B - C - C - G7/F - C/E

Soprano: C5 - D5 - C5 - C5 - D5 - C5

Alto: E4 - F4 - E4 - E4 - G4 - G4

Tenor: G3 - G3 - G3 - G3 - B3 - C4

Bass: C3 - B2 - C3 - C3 - F3 - E3

Roman Numerals: I - V6/5 - I - I - V4/2 - I6

First and third inversion chords are meant to make the bassline more melodic and enjoyable to sing.

VII Diminished Chords

Your ear hears it as either wanting to resolve inward by halfstep or outward by halfstep depending on what you hear. If you hear a tritone as an augmented 4th, it wants to resolve outward. If you hear a tritone as a diminished 5th, it wants to resolve inward.

VII Diminished chords (viio) do not double the root in 4-part voicing.

• both Ti’s will want to resolve to Do
  • that creates part writing errors

If you’re ever questioning your doubling in a viio, think of how you would voice the chord if it were a V7. A viio has the top three notes of a V7.

Example: Using viio as a dominant function.

Get a viio to a V6/5 in C major.

Lead Sheet: C - G7/B - C - C - Bo - G7/B - C

Soprano: C5 - D5 - C5 - C5 - D5 - D5 - C5

Alto: E4 - F4 - E4 - E4 - F4 - F4 - E4

Tenor: G3 - G3 G3 - G3 - F4 - G4 - G4

Bass: C3 - B2 - C3 - C3 - B2 - B2 - C3

Roman Numerals: I - V6/5 - I - I - viio - V6/5 - I

The movement of the tenor voice from F to G breaks the rule of resolving tendancy tones. It doesn’t allow Fa to resolve down to Mi. Using a viio as a dominant function is uncommon because of the difficulties in voice leading.

Pre-Dominants

Using a IV chord in a progression. The subdominant is the polar opposite of the dominant. The I - IV - V - I is a strong progression used throughout history. The IV does not have as strong a pull to the dominant as ii. BUT, the ii can be substituted as the IV. Tendancy tone function doesn’t apply when the chord doesn’t have a dominant function.

Example:

Lead Sheet: C - F - G - C

Soprano: C5 - C5 - B4 - C5

Alto: E4 - E4 - D4 - E4

Tenor: G3 - A3 - G3 - G3

Bass: C3 - F2 - G2 - C3

Roman Numerals: I - IV - V - I

Functional Substitutions

The tonic, dominant, and pre-dominant all have a second chord that functions in a similar way.

Tonic Substitution:

If the progression goes from V - vi, the vi is functioning as a I(sub6).

• sub replaces the root of the chord with the given scle degree The vi functions similarly to the tonic.

Dominant Substitution:

If viio is present, it functions the same as a V7 with no root. The viio functions similarly to the dominant.

Pre-Dominant Substitution:

The ii and IV are equal in pre-dominant function. However, if the ii is in first inversion (ii6) it functions as a IV(sub6).

Passing Chords

Passing Chords: a set of chords in which the bass line moves in passing motion

Example: In C

Lead Sheet: G/B - F/A - G

Soprano: G4 - A4 - B4

ALto: D4 - F4 - G4

Tenor: B3 - C4 - D4

Bass: B2 - A2 - G2

Roman Numerals: V6 - IV6 - V

• all this parallel motion works because the chords are in first inversion
• the parallel motion is in 3rds, 4ths, and 6ths

We have a heirarchy of function. It goes tonic, dominant, then sub-dominant. Passing motion extends the function of one of these by using first inversion chords.