This article examines a unique family of six-four sonorities in the works of Richard Strauss. These six-fours typically sound with 6^, 4^, or 2^ (or modal variants thereof) in the bass but occur immediately prior to a cadential dominant, and thus impart a sense of predominant function despite their unstable inversion. In examining how the sixth and fourth behave, I suggest that rather than hearing these chords as consonant inversions of a triad, they can instead be interpreted as accented six-fours; in other words, reading the sixth and fourth as dissonances, whose resolution to a fifth and third is deferred to occur over a subsequent harmony. I suggest that the sense of fragmentation that coalesces through the process of suspension creates a conflict between phenomenological and analytic hearings of this music, which reflects a type of modernism typically overlooked in Strauss’s late music.

中文翻译：

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理查施特劳斯晚期音乐中的主要六四

本文探讨了理查·施特劳斯作品中一个独特的六四响度家族。这些 six-fours 通常在低音中听起来带有 6^、4^ 或 2^（或其模态变体），但紧接在终止主导之前出现，因此尽管它们的反转不稳定，但仍具有主导功能的感觉。在研究第六和第四的表现时，我建议不要把这些和弦听成三和弦的辅音倒转，而是可以将它们解释为带重音的六四；换句话说，将第六音和第四音解读为不和谐音，其对第五音和第三音的解决被推迟到随后的和声之后发生。我建议通过暂停过程合并的碎片感会在这种音乐的现象学和分析听觉之间产生冲突，