{"id":1068,"date":"2017-02-13T11:37:26","date_gmt":"2017-02-13T16:37:26","guid":{"rendered":"http:\/\/www.artsjournal.com\/curves\/?p=1068"},"modified":"2017-02-13T11:37:26","modified_gmt":"2017-02-13T16:37:26","slug":"second-inversion","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/curves\/2017\/02\/second-inversion.html","title":{"rendered":"Second Inversion"},"content":{"rendered":"<p style=\"text-align: center;\"><a href=\"https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2017\/02\/Root_position_first_inversion_and_second_inversion_C_major_chords.png\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-1069 aligncenter\" src=\"https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2017\/02\/Root_position_first_inversion_and_second_inversion_C_major_chords-300x116.png\" alt=\"\" width=\"300\" height=\"116\" \/><\/a><\/p>\n<p>The most stable chord, traditional teaching tells us, is the root position triad \u2013 the one with the fundamental on the bottom.<\/p>\n<p>A more elusive arrangement puts the third of the chord in the bass \u2013 nice for subverting the obvious hierarchy of the root.<\/p>\n<p>That leaves the 64 chord, meaning a triad with the fifth in the bass.\u00a0 Traditional teaching tells us this chord requires special treatment.\u00a0 It can set up a cadence, it can connect two other chords.\u00a0 Mostly, though, it can\u2019t just sit there, it has to go somewhere.\u00a0 It contains a powerful interval above the bass, a fourth &#8212; not exactly a dissonance, but an interval that requires motion.<\/p>\n<p>I like to call it the <strong>America Chord<\/strong>.\u00a0 No triad is more powerful; no triad is more unstable.\u00a0 That combination of power and instability has no geopolitical analogue more telling than the good old USA.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The most stable chord, traditional teaching tells us, is the root position triad \u2013 the one with the fundamental on the bottom. A more elusive arrangement puts the third of the chord in the bass \u2013 nice for subverting the obvious hierarchy of the root. That leaves the 64 chord, meaning a triad with the [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1068","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/1068","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/comments?post=1068"}],"version-history":[{"count":1,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/1068\/revisions"}],"predecessor-version":[{"id":1070,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/1068\/revisions\/1070"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/media?parent=1068"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/categories?post=1068"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/tags?post=1068"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}