Four-three chord
The four-three chord (German Terzquartakkord) is the second inversion of a seventh chord: the fifth lies in the bass, above it lie seventh, root and third. The characteristic intervals above the bass are a third and a fourth, the figured-bass numeral is 4/3.
- Construction
- second inversion of a seventh chord
- In the bass
- the fifth
- Figured bass
- 4/3
- With G7
- D in the bass: D–F–G–B
- German functional theory
- D7 with a small 5 below the symbol
The fifth at the bottom
A seventh chord has four notes and so three inversions. If the fifth is in the bass it is the second inversion: the four-three chord. Above the bass sound a third and a fourth as the characteristic intervals, hence the numeral 4/3. With the dominant seventh chord G7 the D lies in the bass, and above it lie F, G and B.
G7 in all four positions (bass clef)
The marked chord is the four-three chord: the same seventh chord G–B–D–F, only with D in the bass. Above D lie a third (F) and a fourth (G). With it come root position, the six-five chord and the four-two chord.
The bass passes through: C – D – E
The bass rises by step from C via D to E. The four-three chord sits on the middle note D. The D is the fifth of the dominant, so the chord lies between two positions of the tonic.
In the glossary: Seventh chord · Six-five chord · Four-two chord
A linking chord
The fifth of the dominant in the bass can move in both directions: upwards as well as downwards. That makes the chord especially suited to passing motion. Typical is its place between two positions of the tonic: the bass steps from the root of the tonic via the fifth of the dominant to the third of the tonic, upwards, or in the reverse direction downwards. The four-three chord then lies on the middle note.
In this role it resembles the passing six-four chord but sounds more colourful, because it contains a seventh. The dominant seventh chord sits on the middle bass note, which drives the motion on without setting a goal.
Resolution
The resolution follows the usual rules: the leading tone B rises to the root C, the seventh F falls to the third E. In the listening example this happens in the six-three chord of the tonic: bass D to E, F to E, B to C. In four-part writing the four-three chord as a rule contains all four notes of the seventh chord.
Compared with the other inversions the four-three chord has the least weight. It is a linking chord and not a goal chord.
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Related terms
Seventh chordSix-five chordFour-two chordSix-four chordDominantChord inversionFigured bass
Editor: Maik Krohm · reviewed on 3 October 2026
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