# What is the principle of I46 progression to I7?

The above image is called a secondary 7th chord solution by Anton Bruckner.

But there is an I46 there, and there are many ways to use the I46, but I've never seen it used this way, so I don't know why it can be used like that, and I want to know if it can be used frequently.

• I don't understand the question. You discuss a seventh chord (which I43 is), but you only mention the triad (I64). Which chord are you asking about? Commented Jun 22, 2022 at 2:30
• @Aaron sorry I asked if it was possible to use the I64 like that. Isn't it usually used as IV-I64-IV6 , V-I64-V, I64-V ... etc.? But like the image above, V-I64-I43 ... I haven't seen it go like this. Commented Jun 22, 2022 at 2:48
• Is the confusion about that "I64" is often really a dominant chord with two notes suspended, while in this case it's indeed a tonic chord? Commented Jun 22, 2022 at 2:52
• @user1079505 I thought about it too, but it is clearly marked as I64 and there is no explanation for it. So I asked. (and actually that two notes are not suspended it just passing) Commented Jun 22, 2022 at 2:58
• Please add a citation so others can look it up and read Bruckner's explanation/description. Commented Jun 22, 2022 at 3:54

Although the `V` chord "resolves" to the `I` chord, it resolves to the least stable inversion, `I64`. It is truly a `I` chord in this case, but doesn't function fully as a cadence because of the instability. This helps allow for one of the voices to proceed from `C` down to `B`, creating a `I43` seventh chord, which according to Bruckner, operates as a dominant chord relative to the upcoming `IV` chord.
Ordinarily, `V/IV` would include a `Bb`, but Bruckner is claiming that the strong descending motion of `C-B-A` is "good enough" to create a dominant-type effect of resolving `I43` to `IV`.