The “6” in the figured bass and Roman numeral analysis indicates the interval between the bass note and the root of the chord in an upper voice. The ” ” indicates an irregularly doubled 3^rd.

For a review of chord inversions, see the Review: Chord Inversions and Figured Bass.

DoublinG

The root or the 5^th is doubled, often in the soprano at the unison or the octave. (See Voice Leading examples 1-10.)

Occasionally the 3^rd is doubled irregularly in the I and IV chords. (See Voice Leading examples 11 and 12). The “8” in the analysis indicates that the bass (the 3^rd of the chord) is irregularly doubled at the octave.

V is avoided due to the doubled leading tone ti.

How to Leave Unison or Octave Doublings

Voice Leading

The examples below show all possible combinations of I⁶, IV⁶, and V⁶ chords. New melodic possibilities exist for the soprano through the consecutive use of root position and first inversion triads.

Unless indicated, all examples work in major and harmonic minor (add me and le). All examples can be converted into open spacing.

*In keyboard writing the unison doubling is not shown, resulting in what looks like a chord with only three voices. The examples throughout this book, however, show the two notes on either side of the stem.

**In choral writing, the stems of the shared notes are split.

In example #10 in minor, the descending bass line  do – te – le – so supports the minor v⁶ chord without the raised leading tone.

The IV with a la soprano often functions as a passing chord between V and V⁶ (or vice versa) in major keys. The figured bass IV indicates the irregularly bass (the 3^rd of the chord) at the octave. Note the voice exchange of ti – la – so and so – la – ti in the outer voices.