1. Volume II Chapter 4

2. Borrowed Chords Chords that are borrowed from the parallel minor key Adds color and variety ii° ii ø ⁷ iv b VI vii°⁷ Progression the same as diatonic except b VI progresses to V or V⁷

3. Picardy 3rd Minor piece that finishes with a borrowed major I Originated during the Renaissance period

4. Doubling and Voice-Leading ii°⁶ Double the bass Move 3 upper voices in contrary motion to bass when followed by V or V⁷ ii ø ⁶₅ Move 3 upper voices in contrary motion to bass when followed by V or V⁷ iv Double the bass Move 3 upper voices in contrary motion to bass when followed by V or V⁷ i VI Double the 1 st scale degree of the key vii°⁷ Bass moves up to tonic and 3 upper voices move in contrary motion Picardy 3 rd Double the root