Harmony, its theory and practice . When a second inversion is nortSed cadentially, the bass shouldmove by step, and the following chord may be either an inver-sion, as here, or a root position, as in Ex. 118 below. In this case, the 9 chord may occur either on an accented or an unac-cented beat. 181. The second inversion of the subdominant (IVf,) likethat of the tonic, is mostly used cadentially. As the bass noteis now the tonic rf the key, and the progression will be IVc-I,it is clear that the cadence will now have a plagal character(§117). It is not a. full plagal cadence, because IV is not
Harmony, its theory and practice . When a second inversion is nortSed cadentially, the bass shouldmove by step, and the following chord may be either an inver-sion, as here, or a root position, as in Ex. 118 below. In this case, the 9 chord may occur either on an accented or an unac-cented beat. 181. The second inversion of the subdominant (IVf,) likethat of the tonic, is mostly used cadentially. As the bass noteis now the tonic rf the key, and the progression will be IVc-I,it is clear that the cadence will now have a plagal character(§117). It is not a. full plagal cadence, because IV is not inroot position. Bx. 116. *^ Spohr. Last Judgment.
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