12 Linear (Embellishing) Six-Four and Other Chords

I. Many chord structures may be analyzed as the simultaneous use of several nonharmonic tones. Often theresulting chord structure is recognizable as a particular type of chord (triad, seventh chord, and so forth) butbecause of its melodic origins is analyzed as a linear chord. This is indicated by placing the roman numeralin brackets along with the designation of the type of nonharmonic use (for example, n.c. for neighboring chordand p.c. for passing chord). Included in this category are the various embellishing six-four chords. Thesechords can also be analyzed simply as a combination of nonharmonic tones. The following idioms areparticularly common.

A. Neighboring (auxiliary or pedal) chords.1. The bass remains stationary.2. The upper voices move to neighbors and back. Occasionally one or more upper voices may have

passing tones, as in the last example that follows.3. The chord generally appears on a weak beat or part of a beat.

B. Passing chords.1. The bass moves conjunctly, generally connecting a root-position chord with a first-inversion chord.2. The chord appears on a weak beat or part of a beat.

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C. With appoggiatura or suspension chords, voice leading is analogous to the cadential I64, and the chordgenerally occurs on a strong beat or part of a beat.

D. Six-four chords may occur as a result of an arpeggiated bass line, with a bass line that alternates betweenroot and fifth in many accompanimental patterns, or when the melody is in the bass.

II. Any chord may be functional or linear, depending on the context. Chords that lack a functional root relation-ship with the preceding and following chords are often best analyzed as linear. This situation frequently ariseswith a highly conjunct bass line.

Analysis

Analyze music assigned by the instructor. Refer to the Checklist for Analysis (Part V, Unit 21).

Exercises

1. Realize the following figured basses, paying particular attention to the shape and direction of the melodicline. Analyze completely.

a.

b.

2. Harmonize the following melodies, using six-four chords where indicated by an asterisk. Analyze completely.

a.

b.

3. Complete the harmonization of the following melody in the given texture. Use linear chords whereverappropriate.

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LINEAR (EMBELLISHING) SIX-FOUR AND OTHER CHORDS 99

4. Harmonize the following melodies. Tones with asterisks may be treated as simple melodic embellish-ments (nonharmonic tones) or “harmonized” with other nonharmonic embellishing tones. The resultantsonorities may be analyzed as linear chords. In these melodies and all subsequent melodies with embel-lishing tones, use the slowest harmonic rhythm appropriate to the tempo and character of the melody.

a.

b.

c.