Second inversions are chords I adore
I write them down with a 6 and a 4.
These chords we encounter in four different ways…
You can tell from the context you hear,
From the chords that are near,
And the movement you hear in the bass.
The first we’ll call pedal (or stationary)
‘Cause the bass stays the same.
But when bass notes move stepwise
Often passing’s the name.
When the bass goes a leaping, arpeggiated’s what we’ll say.
And when we come to the end of a section, my friend
A cadential 64 can help carry the day….
(IV 64)... well that IV 64 was stationary, oh…
(I 64)... a passing I 64! Passing I 64!
(vi 64)... ain’t it great when we can arpeggiate!
And for the next one I’m just going to savor it
‘Cause a cadential 64 is my favorite second inversion….
Second inversion…
Mmm, Second inversion…
Written in a pseudo-gospel style, this song has three verses which follow the same chord progression, which includes each of the four types of second inversion triads. The first verse gives a general setup. The second verse gives names and descriptions of each kind as the harmony is played in the accompaniment. The lyrics serve there both as an association with the harmonic content and as a mnemonic for what to listen for.
The third verse then names the chords, including a vertical roman numeral analysis. Vocabulary connections are reinforced as well, with the execution of arpeggios and stepwise motion when they are mentioned. This song teaches on multiple levels, and can be a springboard for discussion, even if the approach is not one that is used in your curriculum.