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There is a study of the subject here: There are also others. Some are used to build Markov chains for music simulation. Quinn's work referenced supra are a bit detailed. Just looking at major and minor triads, the split is about 63% root position and 32% first inversion and 5% second inversion.


I think it depends on how it's used. Two other answers already point out the 5-6 sequence. It could also be approached with a secondary dominant to make clear it's really rooted on vi and not some embellishment of a I chord... By comparison, if you did this... sounds like it ends on a tonic chord with an added sixth, a C6 with the fifth omitted. ...


It’s not so much that it’s absent, as that it doesn’t really behave so much like a vi chord as like an alteration of the I chord. For example, Schenkerian analysts tend to analyze it entirely as a modification of the I, as can be seen in the recent Burststein/Straus textbook. Whenever they refer to it as a vi chord, they put it in scare quotes, like this: “...


The vi6 is reasonably common in Common Practice Period pieces. It occurs in ascending sequences I-vi6-ii-vii06-iii-I6-IV-ii6. (Root position chords are more common when using this sequential technique in four part harmony.) I found this handout on sequences on the web: As mentioned in the ...


Because (using the other system of chord naming) it sounds very like I6 - the tonic chord with an added 6th.


Should we invert a chord to fit the melody, use them for their sound? There is a connection between the melody and bass and what chord inversion to use, but it's probably best to think in terms how the bass part works in the harmonic progression. Let say a song in the key of C has the melody in the fifth bar start with E and the chord is C major, should ...

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