What is a Cadential 6-4? - Music Theory
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Date: 2022-03-28
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Comments and reviews: 10
Randolph
The cadential terminology presented here is a bit different from what I learned in the US: a -perfect authentic cadence- is a I or i chord that has the lowest and highest voice ending on the tonic (and generally some implications for how those voices reach the tonic); an -imperfect authentic cadence- has the highest voice end on a 3rd or 5th above a tonic; an -evaded cadence- has the lowest voice on the third, so a I6 in the US or a 1b in the UK; and a -half cadence- is a V or V7 when it ends a phrase or period. A -deceptive cadence- uses the vi instead of a I at the end of a phrase. A -cadential six-four- is always a -dominant- chord with accented dissonant 4 and and 6 tones descending to 3 and 5 respectively. It's really a third inversion I chord followed by a V. In the terminology I learned, any other six four would just be called that, not a cadential six-four.
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The cadential terminology presented here is a bit different from what I learned in the US: a -perfect authentic cadence- is a I or i chord that has the lowest and highest voice ending on the tonic (and generally some implications for how those voices reach the tonic); an -imperfect authentic cadence- has the highest voice end on a 3rd or 5th above a tonic; an -evaded cadence- has the lowest voice on the third, so a I6 in the US or a 1b in the UK; and a -half cadence- is a V or V7 when it ends a phrase or period. A -deceptive cadence- uses the vi instead of a I at the end of a phrase. A -cadential six-four- is always a -dominant- chord with accented dissonant 4 and and 6 tones descending to 3 and 5 respectively. It's really a third inversion I chord followed by a V. In the terminology I learned, any other six four would just be called that, not a cadential six-four.
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OneEye
I sort of cheat play D min7/F......then ASCEND to ...E min7/G.
I'll also arpegiate from the F note...then/and.or strike the Dmin7...
Then to E min7/G...ect
i didnt Know it was TERM that....It's just familar SOUNDS I've
heard in different songs.
DESCEND to C Major .lol
DESCEND to B dim add 11 to A min...
Then I'll play the Bb maj7 add#11 ( N6)
DESCEND to E min ....ascend to F Maj G Maj A min
Then....I ascend to F Maj7.....ABOVE the C Major Tonic.
so I can play (descending.....F maj7..D min G7 into C MAJOR ( IV, ii, V, I)
Then C Maj descending to F min Ab maj G7 into C Major...
Different cadence or questions and Answer PHRASING...using CHORDS
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I sort of cheat play D min7/F......then ASCEND to ...E min7/G.
I'll also arpegiate from the F note...then/and.or strike the Dmin7...
Then to E min7/G...ect
i didnt Know it was TERM that....It's just familar SOUNDS I've
heard in different songs.
DESCEND to C Major .lol
DESCEND to B dim add 11 to A min...
Then I'll play the Bb maj7 add#11 ( N6)
DESCEND to E min ....ascend to F Maj G Maj A min
Then....I ascend to F Maj7.....ABOVE the C Major Tonic.
so I can play (descending.....F maj7..D min G7 into C MAJOR ( IV, ii, V, I)
Then C Maj descending to F min Ab maj G7 into C Major...
Different cadence or questions and Answer PHRASING...using CHORDS
reply
TheToothlessSage
Coming from a limited background in music here so forgive me please. I've watched a few lessons on this material and I'm wondering what the modern day benefit of this knowledge translates to? Is it just a recognition of these particular structures and their uses (AKA - inversions at particular spots) or is this an in practice way I might find modern music written? They ,make sense to me, thank you for the excellent videos for that, but I have not seen this topic before nor I have I seen it used in score (again, limited background).
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Coming from a limited background in music here so forgive me please. I've watched a few lessons on this material and I'm wondering what the modern day benefit of this knowledge translates to? Is it just a recognition of these particular structures and their uses (AKA - inversions at particular spots) or is this an in practice way I might find modern music written? They ,make sense to me, thank you for the excellent videos for that, but I have not seen this topic before nor I have I seen it used in score (again, limited background).
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Bradley
Hello! do you have any advice for extensive modulatory passages such as you would find in many Beethovens sonatas between the two main subjects. and passing modulations In a piece I'm writing I want to move from C minor to G minor but I want to do so in a passing modulation through various keys. do you have any advice for that? many thanks.
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Hello! do you have any advice for extensive modulatory passages such as you would find in many Beethovens sonatas between the two main subjects. and passing modulations In a piece I'm writing I want to move from C minor to G minor but I want to do so in a passing modulation through various keys. do you have any advice for that? many thanks.
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mark
What confuses me about the figured bass notation is that it is used in two different ways.
For example, you could say -C 6/4- as in the example you show here at the beginning.
But the same chord is also the second inversion of F major and hence sometimes it is referred as -F major in 6/4-.
Is this an issue only for me?
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What confuses me about the figured bass notation is that it is used in two different ways.
For example, you could say -C 6/4- as in the example you show here at the beginning.
But the same chord is also the second inversion of F major and hence sometimes it is referred as -F major in 6/4-.
Is this an issue only for me?
reply
Moksh
One of the best tutors online, for music theory. If you could also incorporate modern pop music into your tutorials (song sections etc.) - it would add another dimension and help so many. Not many can afford expensive music schools... thanks for your generosity!
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One of the best tutors online, for music theory. If you could also incorporate modern pop music into your tutorials (song sections etc.) - it would add another dimension and help so many. Not many can afford expensive music schools... thanks for your generosity!
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Randy
Awesome video! but I have 2 quick questions. To my understanding when you do a cadential 6-4 to the 5-3 you do it on the 5 chord? Is that correct? Also I was wondering is figured bass ever used for anything besides triads and 7th chords even if it is rare?
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Awesome video! but I have 2 quick questions. To my understanding when you do a cadential 6-4 to the 5-3 you do it on the 5 chord? Is that correct? Also I was wondering is figured bass ever used for anything besides triads and 7th chords even if it is rare?
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zinable
This man is the perfect example for all teachers out there. The voice is so calm and interesting to listen to.
Live a long, beautiful, happy life sir. Thank you for everything you shared till now.
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This man is the perfect example for all teachers out there. The voice is so calm and interesting to listen to.
Live a long, beautiful, happy life sir. Thank you for everything you shared till now.
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Lol
I have a question...
If in 6,4 in c major it goes from c f a (which we can consider as f major) to 5,3 c e g ( c major triad) can-t we call that as a plagal cadence as it-s like going from 4-1?
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I have a question...
If in 6,4 in c major it goes from c f a (which we can consider as f major) to 5,3 c e g ( c major triad) can-t we call that as a plagal cadence as it-s like going from 4-1?
reply
sooyun-
thank you so much for this video ! i got selected to teach this for my ap music theory class as a grade and i was relatively confused until i watched this ! now everything makes sense now
reply
thank you so much for this video ! i got selected to teach this for my ap music theory class as a grade and i was relatively confused until i watched this ! now everything makes sense now
reply
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