There are four types of second-inversion chords:
cadential,
passing,
auxiliary, and bass
arpeggiation.
Cadential Cadential second-inversion chords are typically used in the
authentic cadence I-V-I, or one of its variation, like I-V-I. In this form, the chord is sometimes referred to as a
cadential chord. The chord preceding I is most often a chord that would introduce V as a weak to strong progression, for example, making -II-V into II-I-V or making IV-V into IV-I-V. : { \new PianoStaff > \new Staff > >> } The cadential can be analyzed in two ways: the first labels it as a second-inversion chord, while the second treats it instead as part of a horizontal progression involving
voice leading above a stationary bass. • In the first designation, the cadential chord features the progression: -V-I. Most older harmony textbooks use this label, and it can be traced back to the early 19th century. • In the second designation, this chord is
not considered an inversion of a tonic triad but as a dissonance resolving to a consonant dominant harmony. This is notated as -I, in which the is not the inversion of the V chord but a
double appoggiatura on the V that resolves down by step to (that is, -V). This function is very similar to the resolution of a 4–3
suspension. Several modern textbooks prefer this conception of the cadential , which can also be traced back to the early 19th century.
Passing In a progression with a passing second-inversion chord, the bass passes between two tones a third apart (usually of the same
harmonic function). When moving from I to I, the
passing chord V is placed between them – though some prefer VII to V – creating
stepwise motion in the bass (
scale degrees – – ). It can also be used in the reverse direction: I-V-I. The important point is that the V chord functions as a passing chord between the two more stable chords. It occurs on the weaker beat between these two chords. The upper
voices usually move in step (or remain stationary) in this progression. : { \new PianoStaff > \new Staff > >> }
Auxiliary (or pedal) In a progression with an auxiliary (or pedal) second-inversion chord, the IV chord functions as the harmonization of a
neighbor note in the progression, I-IV-I. In this progression, the third and fifth rise a step each and then fall back, creating a harmonization for the scale degrees – – in the top voice. : { \new PianoStaff > \new Staff > >> }
Bass arpeggiation In this progression, the bass
arpeggiates the root, third, and fifth of the chord. This is just a florid movement but since the fifth is present in the bass, it is referred to as a bass arpeggiation flavour of the second inversion. : { \new PianoStaff > \new Staff > >> } ==See also==