Volume 10, Number 2, June 2004
Copyright © 2004 Society for Music Theory
Bret Aarden and Paul T. von Hippel
Rules for Chord Doubling (and Spacing): Which Ones Do We Need?
major scale degrees 1, 2, 3, 4, 5, 6, or 7;
a chromatic degree of the major scale;
natural minor scale degrees 1, 2, 3, 4, 5, 6, or 7;
the minor leading tone;
or another chromatic degree of the minor scale.
 Unfortunately, we could not make finer distinctions among the chromatic scale degrees. As it was, there were very few doubled chromatics; had we broken them into smaller groups, our statistical estimates would have become too uncertain.
 Another set of variables indicated which triad member was doubled. The possibilities were:
the root, third, or fifth
of a major, minor, or diminished triad
in root position, first inversion, or second inversion.
 In all then, this variable had 27 possible values: 3 triad members X 3 triad qualities X 3 triad inversions.
 A final variable was necessary as a control because doubling rules are confounded with rules for spacing. (See §2.2.) This necessary control variable indicated whether or not the triad had its largest space between its two lowest voices, i.e.,
between bass and tenor in the chorales,
or between cello and viola in the quartets.
|◄ Back to §5 (Methods)|
Brent Yorgason, Managing Editor
Updated 03 June 2004