Arnold Schoenberg · section 27 of 30

A. In Major and Minor

1. a) Triads in root position may be used anywhere.

b) First-inversion chords serve to produce varied voice leading, particularly in the outer voices, bass and soprano, and to make the preparation of dissonances possible.

c) Six-four chords should generally be used very sparingly, preferably for cadential purposes, which will be shown later. Passing forms, used sparingly, are advisable because the bass moves. Those in which the bass must remain stationary should be used cautiously. They are sometimes necessary for preparing dissonances.

2. a) Seventh chords may stand wherever triads do, provided preparation and resolution are assured. They will preferably be used where the seventh can give the chord a direction toward its resolution or other treatment, so that the necessary movement—V–I and, as will be shown later, V–VI and V–IV—then follows, as it were, inevitably.

b) Inversions of seventh chords, under the same conditions as their root positions, improve voice leading. The third inversion in particular is very suitable for introducing a first-inversion triad.

3. Diminished triads, initially only in the progressions already practised, II–VII–III and IV–VII–III, are likewise suitable, through their dissonance, for giving the appearance of necessity to the arrival of a degree, III. The seventh chord on VII intensifies this effect. Inversions serve the same purposes as with the other chords.