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Doubling

This document provides information on doubling diatonic chords in major and minor keys. It lists common chord types and their inversions, indicating which notes are typically doubled in the bass. For example, in a major I chord the root is doubled in the bass in root position, while in first inversion the 5th is doubled above the 3rd. Exceptions and less common progressions are also noted. The document serves as a reference for typical chord doubling patterns in classical harmony.

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Tsui Lung Wei
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70 views

Doubling

This document provides information on doubling diatonic chords in major and minor keys. It lists common chord types and their inversions, indicating which notes are typically doubled in the bass. For example, in a major I chord the root is doubled in the bass in root position, while in first inversion the 5th is doubled above the 3rd. Exceptions and less common progressions are also noted. The document serves as a reference for typical chord doubling patterns in classical harmony.

Uploaded by

Tsui Lung Wei
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Doubling of Diatonic Chords 捨㦦乁慅䂼㡫䛪

Roman Chord! Jazz Chord in C Key Root Position 1st Inversion 2nd Inversion 3rd Inversion
Major key Minor Key 炠傭駃! 醶竅㸷傭! 醶濤㸷傭! 醶請㸷傭!
5th
I or i C Cm R R>5 >3 th rd
*Double the Bass Nil

I7 or i7 Complete
C,7 Cm7 Complete
Usually in Root Position (Or double R, Omit 5th)
5th
rd th rd th
ii Dm R>3 >5 3 >R>5 *Double the Bass Nil
Not common Use ⚠
❌ No 2nd inv. for
iio Dº 3rd > R 3rd > R Nil
diminished chord

ii7 or iiØ7 Complete (ii7 or iiØ7)


Dm7 Dm7b5 (Double R, Omit 5th , for ii7 Complete
Commonly use in any position
only )
3rd > R
iii Em R > 3rd Use as Embellishing chord ⛔ Rarely Use Nil

E b or
III or III7 Refer to I and I7 (Tonic triad of relative major)
E b,7
III+ 3rd > R 3rd
Eb+ Use as Embellishing chord Use as Embellishing chord ⛔ Rarely Use Nil
(Harmonic Minor)
III+7
E b+,7 ⛔ Rarely Use
(Harmonic Minor)
5th
iv or IV (F or Fm) F Fm R R > 5th > 3rd Nil
*Double the Bass
IV7 or iv7 (F,7 or Fm7) Complete
F,7 Fm7 Complete
Usually in Root Position (Or double R, Omit 5th)
V (G) 5th
3rd G R R > 5th Nil
Never double , the leading tone *Double the Bass
V7 (G7) Complete Complete
G7
Commonly use in any position (Or double R, Omit 5th)
5th
v Gm R > 5th > 3rd 3rd > R > 5th Nil
*Double the Bass
v7 Complete
Gm7 Complete
Usually in Root Position (Or double R, Omit 5th)
3rd > R > 5th 5th
th rd
vi Am R>5 >3 Use as Embellishing chord *Double the Bass Nil
Not common Use ⚠
A b or
VI or VI7 Refer to IV and IV7 (Subdominant triad of relative major)
A b,7
vio (Aº) 3rd > R ❌ No 2nd inv. for
Aº 3rd > R Use as Embellishing chord Nil
(Melodic Minor) diminished chord
viØ7 Complete
Use like I chord with
Am7b5 added 6
Not common Use ⚠ Not common Use ⚠
(Melodic Minor)
viio ❌ No 2nd inv. for
Bº 3rd > R 3rd > R Nil
(Leading tone Triad) diminished chord
viiØ7 or viio 7 B m7b5 Bº7 Complete Complete Complete Complete
Commonly use in any position
VII or VII7 B b or
Refer to V and V7 (Dominant 7th of relative major)
(Subtonic Triad – Natural Minor Only) Bb7

R = 炠䛪，3rd = 乁慅請䛪，5th = 乁慅條䛪


*Use as Embellishing chord such as Cadential six-four, Pedal six-four, Passing six-four, etc

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