CHAPTER 8

Triads in First Inversion

Combinations of root position and first inversion triads should result in a much higher degree of musicality in composition exercises. The introduction to soprano/bass counterpoint that is the final portion of the chapter is intended to carry over into the composition exercises throughout the remainder of the text. You should be encouraged to do all theory exercises at a piano-especially those exercises that call for some degree of creativity and judgment.

We categorize first inversion usages as those that occur adjacent to the same chord in root position and those that do not (“arpeggiated” chords and “substituted” chords). A special case is the series of first inversion triads in parallel motion. Our doubling rules are less strict than those that are based upon the Bach chorale style and are more generally applicable. Essentially, the only proscribed doubling is that of the leading tone. Any other doubling can be appropriate, depending upon the circumstances.

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