A pedal six-four usually involves one of two progressions. One is I-(IV6/4)-I. What is the other?
Explanation
The pedal six-four is used to elaborate the two most important static harmonies in a key: the tonic and the dominant. The I-(IV6/4)-I progression elaborates the tonic, and the V-(I6/4)-V progression elaborates the dominant.
Other questions
Why are second inversion triads considered much less stable than root position or first inversion triads in tonal harmony?
What is the standard doubling practice for a second inversion triad in a four-part texture?
What is the primary function of a cadential six-four chord?
How is the metrical placement of a cadential six-four typically different from that of a passing six-four?
A six-four chord that harmonizes the middle note of a three-note scalar figure in the bass is known as what type of six-four?
What is another name for a pedal six-four chord?
In the typical voice leading for the resolution of a cadential I6/4 to a V chord, which two scale degrees in the upper voices move down by step?
How is a six-four chord created through a 'melodic bass' typically analyzed in terms of inversions?
Which of the following progressions is a common example of a pedal six-four?
According to the text, how many stereotyped contexts are there for the use of the six-four chord, besides its appearance in a bass arpeggiation or a melodic bass?
What is the consequence of using a six-four chord in a way that is not representative of one of the categories discussed in the chapter (arpeggiated, melodic bass, cadential, passing, pedal)?
In the analysis of a passage employing an arpeggiated bass, how are the figures for the resulting incidental six-four chords often treated?
Which of the following is NOT a type of six-four chord discussed in Chapter 9?
The textural reduction of Scarlatti's Sonata L. 489 in Example 9-5 shows that the three-voice texture is actually derived from how many voices?
In a pedal six-four, how do the upper voices typically move?
What soprano/bass patterns are commonly found in passages with passing six-four chords, as mentioned in the analysis of Example 9-9?
What is the typical handling of part writing for a second inversion triad in a three-part texture?
In the summary, the cadential six-four chord is described as what kind of six-four that delays the arrival of the V chord?
What are the two most common triads used as passing six-four chords, according to the chapter summary?
In a dramatic cadenza of a solo concerto, the orchestra often stops on which chord before the soloist begins?
What is the relationship between the cadential six-four chord and the V chord that it resolves to?
Most pedal six-four chords are of which two types, according to the summary?
If a composer in the tonal era wanted to use a second inversion triad, what would be an incorrect usage according to the text's introduction?
In Part C of Self-Test 9-1, what figured bass symbol is noted as frequently indicating a root position triad following an inverted chord?
The passing six-four chord typically falls on which part of the measure?
How many six-four chords are present in the musical passage of Example 9-9?
In Example 9-8a, which contrapuntal device occurs between the soprano and bass lines alongside the passing six-four chord?
What is the key difference in the bass line's behavior between a pedal six-four and a passing six-four?
If a passing six-four is used in a longer stepwise motion in the bass, as in Example 9-10, what is often true of the melody line?
Why must the roman numeral for a pedal six-four be put in parentheses?
What does a cadential I6/4 chord resolve to?
When a passing six-four is used in the progression I - (X) - I6, what triad is most commonly used for (X)?
What type of six-four chord is used to elaborate a single, static root position triad by moving the upper voices away and back?
In the common pedal six-four progression I - (IV6/4) - I, which chord is being elaborated?
What happens to the instability of a diminished triad when it is put in second inversion?
Is it correct to think of a cadential I6/4 as representing a I–ii–I–V–I progression?
If a member of a second inversion triad is omitted in a three-part texture, which note is doubled?
What is the primary reason that second inversion triads are treated so differently from first inversion triads in tonal music?
In exceptional cases, what may happen to the bass after a pedal six-four chord, as seen in Example 9-12?
The textural reduction of Mozart's Symphony no. 40 in Example 9-10 reveals that the melody moves in parallel 6ths with the bass for how many measures?
Can a cadential six-four occur in triple meter?
What is the function of the I6/4 chord in the common passing progression IV - (I6/4) - ii6?
What are the two incidental ways in which six-four chords can be formed, as discussed at the beginning of the chapter?
Which of the three stereotyped six-four chords is described as the most familiar?
In the analysis of passing six-fours, how are their Roman numerals often written to indicate their weak function?
How is the term pedal point related to the pedal six-four chord?
What is the reason that second inversion triads are not used as simple substitutes for root position triads?
In a four-part texture, are exceptions to the rule of doubling the bass in a second inversion triad common?
What does the symbol '6/4' signify in harmonic analysis?