Copyright © 2017 by Ainolnaim Azizol
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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.
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