Skip to content
Chord

Six-four chord

The six-four chord is the second inversion of a triad: the fifth lies in the bass. Above the bass lie a fourth and a sixth, hence the name. Because of the fourth it counts as needing resolution and appears only in certain progressions.

Construction
second inversion of a triad
In the bass
the fifth
Above the bass
fourth and sixth
Figured bass
6/4
Slash notation
C/G for C major with G in the bass

The second inversion

A triad has three notes. If the root is at the bottom it is in root position; if the third is at the bottom it is a six-three chord. If the fifth is at the bottom the six-four chord arises. In C major these are the notes G, C and E with G in the bass. Above G then lie C as a fourth and E as a sixth. The figured-bass numeral for it is 6/4.

Cadential six-four chord: upper voices in the treble clef

4 4

The second chord is the six-four chord over G in the bass, followed by the dominant. The upper voices are C–E–G, the same triad as in the tonic. Only the bass makes it a six-four chord. In the dominant the notes resolve: C falls to B (the fourth to the third), E falls to D (the sixth to the fifth), and the G stays.

The bass to go with it: bass clef

4 4

The bass stays on G for the six-four chord and the dominant. That creates the tension that resolves in the final chord.

Passing and neighbouring six-four chords

3 4

On the left the passing six-four chord: the bass goes E–D–C, and the chord over D (with G and B above) lies in between. On the right the neighbouring six-four chord: the bass C stays, the upper voices move briefly to F–A–C and return.

In the glossary: Six-three chord · Chord inversion · Suspension

Why it needs resolution

In strict part-writing the fourth above the bass counts as a dissonance. The six-four chord therefore cannot be used freely but demands a particular context and a continuation. Three uses are usual:

  • Cadential six-four chord: the most important form. It appears on a strong beat before the dominant, and its upper voices resolve stepwise downwards, the sixth to the fifth, the fourth to the third, while the bass stays put. In functional theory it is therefore not a tonic but the dominant with a double suspension (D with 6/4 and 5/3).
  • Passing six-four chord: the bass moves by step between two positions of the same chord, and the six-four chord lies between them on a weak beat.
  • Neighbouring six-four chord: over a held bass the upper voices move away briefly and return.

In all three cases in four-part writing the bass is usually doubled, as in the listening example.

CIC/G6/4GVCI

In the solo concerto

In the Classical solo concerto the cadential six-four chord often comes at the end of the orchestral tutti, frequently with a fermata. Then the soloist plays the cadenza, which prolongs this chord. The orchestra then re-enters with the tonic. The six-four chord is here the signal that things will carry on in a moment.

Practice: At the piano play the sequence C – C/G – G – C with the G in the bass. Hold the bass fixed, lead the upper voices downwards by step and hear how the second chord “hangs” until the dominant resolves it. Never use it casually in your own harmonising: it demands a continuation, and without one the passage sounds unfinished.

Continue on Maikstrings

Cadences

Authentic cadence, plagal cadence, half cadence and deceptive cadence with listening examples.

Chords

Triads, inversions and chord symbols.

Diatonic chords

The chords of a key and their functions.

Related terms

Six-three chordChord inversionSuspensionCadenceDominantFigured bassFunctional theoryRoot positionFour-three chord

Editor: Maik Krohm · reviewed on 3 October 2026

← Back to the glossary