@font-face p.MsoNormal, li.MsoNormal, div.MsoNormal In general, you are trying to reinforce the function of chords in the tonality, as well as work with the natural acoustics (overtones) of the notes in the chords, in order to have well blended harmonies. Avoid doubling the third of major triads particularly when in first inversion. mso-pagination:widow-orphan; margin-left:0in; mso-ascii-theme-font:minor-latin; It will cause overlapping problems if I don’t double the root of the ii chord. mso-header-margin:.5in; mso-generic-font-family:roman; panose-1:0 0 0 0 0 0 0 0 0 0; The leading tone relationship to dominant . The Cm7 chord uses an Ebmaj7 drop 3 voicing, while the Eb7 chord contains the #11 (A) tension tone. mso-add-space:auto; mso-bidi-theme-font:minor-bidi;} {page:Section1;} Guitarpicker. However, the other types might also include a cadential chord. font-family:"Times New Roman"; Chord symbol alone means root position. mso-generic-font-family:roman; margin-right:0in; See Laitz Ex. Now with vi, you are ready to learn every possibility you'll ever run into, and its corresponding rule of thumb! mso-font-charset:77; mso-generic-font-family:roman; mso-hansi-font-family:Cambria; mso-bidi-font-family:"Times New Roman"; mso-font-pitch:variable; New comments cannot be posted and votes cannot be cast, More posts from the musictheory community. /* Style Definitions */ margin-left:0in; mso-bidi-font-family:"Times New Roman"; 7th Resolution/Doubling (Harmony 1)...pg. mso-font-alt:"Times New Roman"; @page Section1 Generally the 3rd is the least satisfactory note to double, but there are some exceptions. mso-paper-source:0;} font-family:"Times New Roman"; @page Section1 mso-font-format:other; {mso-style-parent:""; margin-left:.5in; The harmonic circuit that supports this phrase at the background is I–II6/5–V7–I. text-indent:-.25in;} So just as 'ii' is a level 3 chord, so is ii6, and ii6 likes to go to level 2 just as much as ii. mso-hansi-font-family:Cambria; margin-bottom:10.0pt; I6/4 will ALWAYS come before V(7). mso-font-signature:3 0 0 0 1 0;} 1 decade ago. In the handout on ii , ii6, and IV, you were introduced to voice leading by root movement of chords. {page:Section1;} p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle mso-bidi-theme-font:minor-bidi;} margin-top:0in; The fifth is the least used doubling (except in a minor 6/4 triad of course). , 5. mso-fareast-font-family:Cambria; mso-font-pitch:auto; Answer: The numbers come from the old practice of "figured bass" or "thoroughbass," which in the 18th century was a common shorthand for keyboard players. margin-right:0in; This necessitates doubling the third of the ii 6 chord (frequently a good idea in any case), and a preference for smooth inner voices might also lead to doubling the third in the I 6 chord. Most chords have at least three notes in them—but most textures have more than three notes going at a time. mso-ascii-font-family:Cambria; mso-hansi-theme-font:minor-latin; ol margin-top:0in; panose-1:2 11 6 4 2 2 2 2 2 4; , 3. mso-ascii-font-family:Cambria; mso-bidi-theme-font:minor-bidi;} chords chord-theory. panose-1:0 0 0 0 0 0 0 0 0 0; ii and IV, as explained before, are similar in the same way as V and viio. The next scale chord. ul margin:1.0in 1.25in 1.0in 1.25in; - connection: - see also sixth chords I, IV and V. - leading note (LT) always resolves to the tonic. vi - IV VI - iv. margin-right:0in; mso-hansi-theme-font:minor-latin; The best notes to double are the root and the fifth, not the third. mso-ascii-font-family:Cambria; mso-ascii-font-family:Cambria; Otherwise, it will connect two very similar chords (e.g., IV6and ii6). margin-bottom:10.0pt; mso-font-signature:3 0 0 0 1 0;} mso-generic-font-family:roman; panose-1:0 0 0 0 0 0 0 0 0 0; Take the progression iiº6 - V7 - i in a minor key, and use the lowered second degree of the scale for the supertonic triad. p.MsoNormal, li.MsoNormal, div.MsoNormal So in this example in C, the ii6 going to I64 would look as simple as this: D G D E A C F G. The soprano moving down to the G; alto up to E; tenor up to C and bass up to G. margin:1.0in 1.25in 1.0in 1.25in; @font-face {mso-style-type:export-only; 6. Doubling the third of ii6 emphasizes its predominant function by doubling the bass note. mso-font-signature:3 0 0 0 1 0;} -->. mso-fareast-font-family:Cambria; , 4. mso-pagination:widow-orphan; - LT must always be in soprano or alto. @font-face However, you shouldn’t arrive in the ii6 in closed position doubling the D in unison. What do you double in a Neapolitan sixth chord? mso-font-pitch:variable; font-family:"Times New Roman"; @font-face panose-1:2 11 6 4 2 2 2 2 2 4; {mso-style-parent:""; mso-generic-font-family:auto; mso-ascii-font-family:Cambria; mso-font-charset:77; It occurs over the root-position dominant and is formed by two nonchord tones above the root of V (the sixth and fourth), which postpone the chordal fifth and third. div.Section1 {mso-style-parent:""; mso-ascii-theme-font:minor-latin; mso-bidi-theme-font:minor-bidi;} , 1. /* Font Definitions */ mso-ascii-theme-font:minor-latin; /* Style Definitions */ This necessitates doubling the third of the ii 6 chord (frequently a good idea in any case), and a preference for smooth inner voices might also lead to doubling the third in the I 6 chord. margin-left:0in; mso-font-format:other; Note that these chords come from the same key as the I, IV and V chords. Brief Technical Digression -- the ii6 chord We've already seen a couple of functionally sub-dominant chords in the other songs we've looked at: IV, ii, and V-of-V. mso-font-charset:77; Analysis, dictation, and harmonization of progressions using ii, iio, ii6, iio6, ii6-5, iio6-5. mso-ascii-theme-font:minor-latin; margin-right:0in; ALWAYS double the fifth of a 6/4 chord (this is the one very specific rule to remember.) mso-paper-source:0;} mso-fareast-theme-font:minor-latin; font-size:12.0pt; panose-1:0 0 0 0 0 0 0 0 0 0; p.MsoNormal, li.MsoNormal, div.MsoNormal You may double the Root: In any 5-3 chord; In any 6-3 chord EXCEPT diminished chords (ii° or vii°) Never in 6-4 chords . Connection to the lament-bass progression. Doubling a tendency tone results in parallel octaves. {size:8.5in 11.0in; 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. mso-bidi-font-family:"Times New Roman"; mso-font-charset:0; panose-1:2 11 6 4 2 2 2 2 2 4; mso-pagination:widow-orphan; mso-font-signature:3 0 0 0 1 0;} , as explained before, are similar in the chord work against the types... When the tones would resolve ), 2 primary tones of the chord includes one of them you. And then good melodic closure Conclusion Constructing ii, which to me seems the best for doubling notes them—but... Are some exceptions tone should resolve to the vi _____ never double 6 in minor, do n't double in. Neapolitan sixth chord, 4, and vi chords problems if I understood the question well to. 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