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Any note of a first inversion chord may be doubled except the leading tone. mso-fareast-theme-font:minor-latin;
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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. You have the elegant movement of soprano and bass moving in contrary directions and no parallel fifths. margin-right:0in;
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First- and third-inversion chords in circle-of-fifths progressions. Doubling rules: Double the bass! mso-fareast-font-family:Cambria;
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These chords are built from the 2nd, 3rd and 6th notes of a scale and are all minor chords. p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle
1 decade ago. The leading tone relationship to dominant . But which one? mso-font-charset:0;
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Let's take the key of D for example: {mso-style-parent:"";
The chords which I'm allowed to use are: i and i6, iv and iv6, V and V6 and VI and VI6. @page Section1
I - V6 - I ... To avoid this, double the third in ii6! In augmented triads, it doesn’t really matter which note you double from the acoustic point of view, since by sound, any note could be the root. mso-bidi-theme-font:minor-bidi;}
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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. mso-font-pitch:variable;
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. mso-font-signature:3 0 0 0 1 0;}
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It will cause overlapping problems if I don’t double the root of the ii chord. It is generally best to double the bass note of the Phrygian II. mso-add-space:auto;
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With seventh chords, there are of course no doublings. @font-face
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-ascii-font-family:Cambria;
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(The overtones of the third of the chord work against the other notes. mso-font-pitch:auto;
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In augmented triads, it doesn’t really matter which note you double from the acoustic point of view, since by sound, any note could be the root. mso-hansi-font-family:Cambria;
Applied Chords 27.1 Introduction. mso-font-signature:3 0 0 0 1 0;}
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. mso-font-alt:"Times New Roman";
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vii6 ii6 When resolving a V4/2 to a tonic chord the tonic chord will be in what position? margin-left:.5in;
Any note of a first inversion chord may be doubled except the leading tone. mso-font-format:other;
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chord should double the third rather than the root. margin-left:0in;
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ALWAYS double the fifth of a 6/4 chord (this is the one very specific rule to remember.). @font-face
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The Neapolitan 6th chord is an expressive alternative to the ii6 chord, and most often found in the minor key, although there are plenty of examples of it in major. mso-generic-font-family:roman;
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You may double the Third: /* Style Definitions */
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As for first inversion chords… mso-generic-font-family:auto;
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The submediant chord in major and minor. mso-hansi-font-family:Cambria;
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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. /* Font Definitions */
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4. The best notes to double are the root and the fifth, not the third. Less functionally perhaps, it appears in the finale of Stravinsky's Firebird Suite. font-family:"Times New Roman";
However, I am ok if chord ii6 is used, if it leads to chord V. As for doubling, it is preferable if the root in root position chords is doubled. mso-font-pitch:auto;
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Move the upper voices in contrary motion to the bass and avoid the common tone in same voice. mso-font-signature:3 0 0 0 1 0;}
Presents no problems of doubling: II: Minor and doubling: In minor, doubling the 3rd of II[5/3] improves its sonority because the 3rd is the only tone that does not form a dissonance with one of the other chord members= However, if the soprano contains s.d. It's pretty clear in the literature that, for example, in a 1st inversion chord, ANY note can be doubled - practically at will. Second inversion triad? mso-fareast-font-family:Cambria;
double 3rd in I6/i6. mso-font-charset:77;
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