We use P6/4 in our labeling because the chord itself (aka V in this case) isn’t really functional - it’s not exerting dominant quality here. It’s just passing or neighboring, prolonging the function of the currently operating chord (the I chord in this case). If you’d rather write V6/4 then you could indicate the bass note, but that doesn’t really indicate the functionality of the passage.
hello, Christmas is approaching, if you wish you can make a difference in the rhythm of the silent night song in the 3/4, 6/8 and 6/4 versions. what is the main difference. because some songs in church hymns use 6/8, 6/4, and 3/4, thank you
@@DrKatiMeyerMusicTheory I also don't know how many beats the original version of the song uses. It's also good to include examples of sounds from each rhythm (3/4, 6/4, 6/8). Thank You
Hey Dr. Meyer, just to clarify, by “weak sonically”, do you mean weak in terms of physics and the resonance of the chord? And could you explain how exactly that works? Thank you! Great video!
The basis of the second inversion triad is a 4th which is considered a dissonance sonically (ratio of 4:3). It is the least dependent perfect interval. The other two inversions are a 3rd and 6th in their foundations - these are imperfect intervals, which are stronger sonically because they are less pure intervals. Our ears prefer them, so phenomenologically, the 6-4 chord has the less physically and aurally.
It’s not typical to see parallel 6/4 chords in common practice music. You can resolve them in pedal motion a la the cadential 6/4 or pedal 6/4 prolongation.
As long as the fifth of the chord is in the bass voice, the chord is in 2nd inversion. The root and third may be placed in any voicing above this pitch.
Thank you so much for making this video, Dr. Meyer!
Thank You Dr.Meyer😁
My pleasure!
How can one note the bass note in Roman numerals for the V chord of the first 2 examples?
We use P6/4 in our labeling because the chord itself (aka V in this case) isn’t really functional - it’s not exerting dominant quality here. It’s just passing or neighboring, prolonging the function of the currently operating chord (the I chord in this case). If you’d rather write V6/4 then you could indicate the bass note, but that doesn’t really indicate the functionality of the passage.
hello, Christmas is approaching, if you wish you can make a difference in the rhythm of the silent night song in the 3/4, 6/8 and 6/4 versions. what is the main difference. because some songs in church hymns use 6/8, 6/4, and 3/4, thank you
I will consider it! Thanks for the idea!
@@DrKatiMeyerMusicTheory I also don't know how many beats the original version of the song uses. It's also good to include examples of sounds from each rhythm (3/4, 6/4, 6/8). Thank You
Hey Dr. Meyer, just to clarify, by “weak sonically”, do you mean weak in terms of physics and the resonance of the chord? And could you explain how exactly that works? Thank you! Great video!
The basis of the second inversion triad is a 4th which is considered a dissonance sonically (ratio of 4:3). It is the least dependent perfect interval. The other two inversions are a 3rd and 6th in their foundations - these are imperfect intervals, which are stronger sonically because they are less pure intervals. Our ears prefer them, so phenomenologically, the 6-4 chord has the less physically and aurally.
Is there other ways of using 6/4 chords?
Like can you move to a 6/4 chord in stepwise motion and resolve it in pedal motion
Combination of the two?
It’s not typical to see parallel 6/4 chords in common practice music. You can resolve them in pedal motion a la the cadential 6/4 or pedal 6/4 prolongation.
Great video! anything on 3rd species counter point?
No third species counterpoint video yet. It gets crazier with that 4:1 ratio!
Top of chord on bottom root in middle?
As long as the fifth of the chord is in the bass voice, the chord is in 2nd inversion. The root and third may be placed in any voicing above this pitch.
And Cadential64
Yes, of course, but I have a separate video for the Cadential 6/4. Thanks for watching!