Just want to show you, you know, we just saw an example of a passing 6-4 chord. And I want to note to you that there are certain kinds of 6-4 chords. That, that means we can only use 6-4 chords in very certain situations. Very different than first inversion triads. First inversion triads, if it sounds good, use it. Stylistically, with second inversion triads, that is, 6-4 chords, you can't just put them in whenever you feel like it. There are certain kinds of 6-4 chords and one of them is the passing 6-4 and I'll introduce the other two, over the, over the next few minutes. I wanted to show you, though, another classic case of where we see a 6-4 chord, passing 6-4 chord being used. I'll just go up real quick here. So here we have i, V6-4 to i6. So this is a fifth above coming back down to the original place it was. We see the same thing actually with the iv chord. The iv chord goes to the chord that's a fifth above. Which is the i chord, and back to itself. Characteristically, though, this one you find going down much more than you find going up. Probably because this sets us up nicely. We go, we pass through this, this sets us up nicely as a subdominant chord, to go to the dominant and do a cadence. So, this is another option of a passing 6-4 chord. Okay, so we have passing 6-4 chord. What other kinds of 6-4 chords do we have? Let me give an example. This is a classic case of what we call a pedal 6-4. And why is it called pedal 6-4? Well, let me voice lead it. We have got the i. We are going up a fourth, to the iv chord. And we want them in second inversion. Well, okay, so if I do that, if I take the iv chord. [MUSIC] If I look at it, the fifth here is the D, and a D is the root of this i. Okay, so if I want to voice lead this then I'm going to probably put that D in there. And then I'm going to voice lead these smoothly up to the other chord tones that I need. So I need a G and a B. Well, that's pretty easy, because these just move by step. G goes there, B flat goes there. And how do we get out of it? We just go in the opposite direction. Let me play this one for you. [SOUND] So, pedal. It's called a pedal because this common tone is held and that common tone is the bass note. And it's this other stuff that moves around above it. This name comes out of an old technique used particularly what, we see actually in, in organ literature and fantasias and things like that. In preludes, organ preludes. Where you'll have the pedal, literally the pedal, hold a note in the bass, and above that there'll be lots of decoration. And so, the term for this comes out of that bit of history. Not only do we see pedal 6-4 chords as one of the kinds of 6-4 chords. But we see the pedal 6-4 chord usually used with i-iv-i progression. If you're looking for a way to change the quality of a i-iv-i progression, this may be an option. Okay, the, the last kind of 6-4 chord that we have, is called the cadential 6-4. Cadential 6-4 means happens at a cadence. That is at the end of a phrase. And this is a kind of chord that you insert. We'll be talking about inserting chords much later in the course but this is a kind of, this is already an example of that. Anytime you get to a cadence and you have a V-i progression, understand that you can do this. [MUSIC] Can take that chord, that's V, oops. [MUSIC] And you can push it over. And you can prepare it with a different chord, just similar to our pedal 6-4. We do this, we create a i6-4 chord that resolves to the V and then continues on to i. It doesn't have to continue on to i by the way. This could be, we could end the phrase with a V chord. That's fine as well. This i6-4, this cadential 6-4, right up here. The cadential 6-4 chord is really a decoration of the V chord. Understand even though this says i6-4, this is actually technically a V chord. This raises the interesting issue of the idea of function in tonal harmony. So although this says i, it actually, it has no function other than to be a decorated V chord and notice the voicing and the voice leading should always be just like this, very smooth. The, the 6 bit, that is from the bass, we measure up a sixth. That goes down to the fifth bit, here. The interval of fifth The fourth goes down to the third. By and large, that's exactly how you should see the voice leading done. With a cadential 6-4 chord. Now, I want to point out something about cadential 6-4 chords and how they're used. I have a little example here on the end that says oh, you should put this on a strong beat. Make it at least as long as the five chord. Here we have the four chord and you say, I'm going to five and then one. I just slip in a i6-4. This is a bad idea. This one thing you should understand about these 6-4 chords. Put it on a strong beat, if possible. I mean, depends on context but by and large you put it on a strong beat. And make it in terms of its note value as long. At least as long as the five chord. So how would I do this here? I would actually. [MUSIC] Move this over to there. [MUSIC] I would move this over, say, to there. [MUSIC] And I would move this over to there. [MUSIC] And I would keep this the original length. And I've added all sorts of stuff in which you don't want to add in. This is no longer V, this is our i6-4. This is no longer, oops, it's no longer i. This is our V. And you could also do this. [MUSIC] whoops. [MUSIC] This is also acceptable. Where this i6-4 is actually significantly longer than the V chord. This you will see, but the original version that we started with you will not see. I mean, maybe you'll see it, but you'll see it very rarely. Okay, let's look at some instances of, working with the i-iv-V-i progression. Actually, the main thing that I want to introduce with the i-iv-iV-i progression is that with the iv chord, you could use this in an inversion. So it's very common to see something like this. Rather than 4 in root position, we put 4 [MUSIC] in first inversion. So let's voice lead this nicely, with this. Whoops. [MUSIC] And that makes probably the most sense. Keep the common tone, move this by step, move this by step, this leaps down into this because it needs to give us the bass note. No parallel motion. Then we voice leap this over, we get the contrary motion here. So this is all very nice voice leading. So it's not too much of an addition to our i-iv-V-i set of progressions, but it does give us an additional option in terms of harmonic progression. Last but not least, I want to show this one. Now, this one you can actually only do with a V7 chord. Let's do this. I mentioned earlier on that inversions are about putting the 3rd, with a 5th in the bass as we've already seen. And with 7 chords sometimes you can put the 7th in the base. So that's why this is something that you can only do with a V7 chord rather than a V dominant triad. Because there's no seventh in the dominant triad. So let's do that. We've got a V chord here and let's put, let's add a seventh, but let's make it [SOUND] not, not change this root because we have two roots here, yeah. Let's not change this root. Let's change this root and move it down there. Now we get a V, it's called V4-2. Let's voice lead this properly. And when we voice lead it, we see something that's a very important property of the V4-2. We need to find our tendency tones. Okay. So, well. These two, we keep our common tone. We move this by step, fine. And this one is our leading tone, so it needs to go up, and this is our fourth scale degree, so it needs to go down. [MUSIC] Which means. We have to have a i in first inversion. a i6 chord. This is a really important property of V4-2 chords. They almost always resolve to the i6 and the reason that is, is because the tendency tone of the fourth scale degree is in the bass. So since it's in the bass, it's in and outer voice and it's exposed and so we need to voice lead it properly. And so we voice lead it so that it goes where it's supposed to go which is down to the third scale degree but because that's in the bass it means that the rest of the chord has to be in first inversion.