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Linear (Embellishing) Six-Four

and Other Chords

I. Many chord structures may be analyzed as the simultaneous use of several nonharmonic tones. Often the
resulting chord structure is recognizable as a particular type of chord (triad, seventh chord, and so forth) but
because of its melodic origins is analyzed as a linear chord. This is indicated by placing the roman numeral
in brackets along with the designation of the type of nonharmonic use (for example, n.c. for neighboring chord
and p.c. for passing chord ). Included in this category are the various embellishing six-four chords. These
chords can also be analyzed simply as a combination of nonharmonic tones. The following idioms are
particularly 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 I46, and the chord
generally 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 between
root 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 relationship with the preceding and following chords are often best analyzed as linear. This situation frequently arises
with a highly conjunct bass line.

LINEAR (EMBELLISHING) SIX-FOUR AND OTHER CHORDS

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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 melodic
line. Analyze completely.
a.

b.

2.

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

b.

3.

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Complete the harmonization of the following melody in the given texture. Use linear chords wherever
appropriate.

DIATONIC MATERIALS

4.

Harmonize the following melodies. Tones with asterisks may be treated as simple melodic embellishments (nonharmonic tones) or harmonized with other nonharmonic embellishing tones. The resultant
sonorities may be analyzed as linear chords. In these melodies and all subsequent melodies with embellishing tones, use the slowest harmonic rhythm appropriate to the tempo and character of the melody.
a.

b.

c.

LINEAR (EMBELLISHING) SIX-FOUR AND OTHER CHORDS

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