SATB chord iib (AKA ii6) doubling?

Asked by: Hector Disla

What is the ii6 chord?

The ii6 chord looks, sounds, and acts almost exactly like the IV chord: both have 4. ^ in the bass, both contain 6. ^ in an upper voice, and both progress to V. The biggest difference is that you are much less likely write parallel fifths when using ii6 because ii shares a common tone with V (whereas IV does not).

Can you double the seventh in a chord?

If there’s a seventh in the chord it should not be doubled – sevenths want to “resolve,” and doing both of them would make parallel octaves, which is thought to reduce the independence of the voices. A similar problem arises for major thirds in a dominant chord, which would prefer to move by half step to the tonic.

Can you double the third in a minor chord?

In minor triads, there are not as many acoustical issues to worry about between the notes, so the third can be a very good note to double, especially in a major key, where the thirds of the minor triads are the primary tones of the scale. Also the root is a good note to double.

What should I double in IV6?

The best choice of doubling depends on where the chord is leading. If IV6 progresses to a root-position V, then doubling the fifth of IV6 is probably best. On the other hand, if IV6 progresses to V6, then doubling the third of IV6 may be better.

What is a ii6 chord in G major?

The G major chord vi is the E minor chord, and contains the notes E, G, and B. This submediant chord’s root / starting note is the 6th note (or scale degree) of the G major scale. The roman numeral for number 6 is ‘vi’ and is used to indicate this is the 6th triad chord in the scale.

Why is it called Neapolitan 6?

The chord is called “Neapolitan” because it is associated with the Neapolitan School, which included Alessandro Scarlatti, Giovanni Battista Pergolesi, Giovanni Paisiello, Domenico Cimarosa, and other important 18th-century composers of Italian opera.

Is Doubling the third OK?

Don’t double the third, except if the chord is diminished, in which case it’s good to double the third. Doubling the third might be okay if I am writing a secondary triad (ii, iii, vi, and viiº), but probably not if the chord is minor.

What is irregular doubling?

So for example this is a G chord. And as we need our GP and d. The third is be so let's go ahead and put 2 b's in there let's see what happens if we do that. And this alto can move down to D.

What is doubling the third?

Dominant chords are always major chords (or at least based on them), and doubling the third of a dominant chord means doubling the leading tone. In common practice period voice leading, the leading tone should resolve to the tonic, so you get parallel octaves right there.

Which note is best double in a primary chord?


The root is generally the best note to double in a chord triad, although this can change with inversions. As a rule, don’t double the leading tone, which is the seventh in the scale, as this sets up a very weak resolution.

What is a double leading tone?

A double leading tone is when you have two leading tones in a chord and the chord has a non-dominant function. For example: in the key of C major: a iii chord could be E B B G which would double the leading tone. The leading tone must always rise to the tonic, resulting here in parallel octaves (B-C).

What is a V6 4 chord?

What is the cadential 6 4 chord? The cadential 6 4 is a melodic and harmonic formula that often appears at the end of phrases in music of the common practice period. Typically, it consists of a decoration of the dominant chord by displacing both its third and fifth by a step above.

What are the 4 types of 6 4 chords?

There are four types of 2nd inversion triads (commonly called 6/4 chords) that can be found in the Common Practice Period:

  • Cadential 6/4.
  • Arpeggiated 6/4.
  • Passing 6/4.
  • Pedal 6/4.

What is a pedal 64?

It's a very common tool that composers use to elaborate a harmony or two to create commotion. And and and and some harmonic harmonic variety without actually going anywhere by maintaining.

What is a 64 inversion?

A second inversion triad used in this fashion is called a pedal six-four chord. The cadential six-four chord is the final and most noticeable use. In this form, the second inversion triad preceeds a V chord in a cadence. Often, the cadence will sound stronger due to the cadential six-four’s presence.

What is a 43 inversion?

The second inversion chord is called the “4/3” because the “1” is a 4th above the “5” in the bass and the “7” is a 3rd above the “5”.