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Doublings for Diatonic Triads and Seventh Chords in an S.A.T.B. Texture

The following list summarizes doublings for diatonic triads in major keys, corresponding to the R.C.M.current syllabus

  • I, IV, V, double the root of the chord. For example: CEGC
  • V7
    1. Complete, that is all four pitches present. Eg: GBDF
    2. Alternately, double the root and omit the 5th of the chord. Eg: GBFG, no D
    Note that with inversions of seventh chords, all pitches are present
  • ii
    1. Double the root. Eg: DFAD
    2. Alternately, double the third. Eg: DFFA
  • ii7
    1. Complete. Eg: DFAC
    2. Double the root, omit the 5th. Eg: DFCD
    3. Double the 3rd, omit the 5th. Eg: DFCF
    Note that with inversions all pitches are present
  • vi
    1. in a regular chord progression, double the root. Eg: ACEA
    2. in a deceptive cadence, double the 3rd. Eg: ACEC
  • iii, double the root. Eg: EGBE
  • vii6, double the 3rd. Eg: BDFD, with D in the Bass
  • I6, IV6, V6, double the root or the 5th, usually depending on the Soprano. Eg: CEGC, with E in the bass, or CEGG, with E in the bass
  • ii6, double the 3rd. Eg: DFAF with F in the bass