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Rimsky-Korsakov, Practical Manual of Harmony in English

Nikolai Rimsky-Korsakov · section 30 of 96

The Sixth Chord of the Second Degree in the Major and Minor Modes

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b) — 1) The sixth chord of the second degree may be used in minor as well as in major as a subdominant harmony, in cadences of the second kind after the triad of the first degree or its first inversion, and also in a turn of phrase that has the character of a cadence.

2) Use the sixth chord of the second degree with the root in the upper part.

3) Double the third of the root, or the root; but before the cadential six-four chord, double only the third of the root.

Three progressions in C major with the II6 chord (root in the soprano) leading to V, or to the cadential six-four and V, then I
Fig. 106 · See it in the reader

REMARK. — Doubling the fifth of the root in the sixth chord of the second degree is possible only in the major mode:

Good: in C major, II6 (F–A–D) with the fifth A doubled, the tenor rising a fourth A–D. Bad: in A minor, II6 (D–F–B) with the fifth F doubled, the tenor rising a
Fig. 107 · See it in the reader