3.b) Doubling Tone

Copyright © 2017 by Ainolnaim Azizol
All rights reserved.
Updated: 6 March 2017

3.b)1. Doubling Tone and 4-Part Writing

  • In four-part writing (choral SATB) style, one of the three notes or tones in a triad will be doubled to accommodate the four-part voices harmonically, except for a chord which already has four notes.
  • The doubling tone and chord notes displacements are affected by the harmonic and melodic quality of the 4-part voicing such as avoid parallel 5th, 8th, unison, augmented and diminished or tritone etc.

3.b)2. Doubling Tone Manual

Setting 1: Root Triad Position

  • Major root triads: Doubling the root or fifth triad tones.
  • Minor root triads: Doubling the root or third triad tones.
  • Diminished root triads: Doubling the third tones.
  • Augmented root triads: Any (usually the bass note).

Setting 2: Inverted Triad Position

  • First inversion: Doubling the soprano note (any of the triad tones) whenever possible or the third triad tone (inversion bass note) especially for Neapolitan sixth – N6 to produce smooth voicing progression.
  • Second inversion: Double the fifth triad tones (inversion bass note).
  • Chromatic (altered) tone and leading-note (LN) should not be doubled.

< PREVIOUS ]     [     HOME     ]     [     NEXT     >


Copyright © 2017 by Ainolnaim Azizol
All rights reserved.
Updated: 6 March 2017
This page can be cited as (APA format 6th Edition): Azizol, A. 2017. Music Theory: Metric and Tonal Structure. Retrieved from http://www.ainolnaim.wordpress.com