| A | B |
|---|
| Ranges of the 4 vocal parts | Soprano: [c^1 to g^2]; Alto: [g-c^2]; Tenor: [c to g^1]; Bass: [E to c^1] |
| Which tones should you double? | Is usually best to double the most stable tone(s) of a chord: THEREFORE, the leading tone in V or VII and the 7th of seventh chords should NOT be doubled |
| Which chords create the best sonority? | Complete Chords |
| When doubling the tones of a chord, which tones may be omitted? | The 5th of major or minor root-position triads= However, you may NOT omit the 3rd= If the 5th is omitted, the root is often tripled= Similarly, the 5th may be omitted from root-position seventh chords and the root doubled |
| Distance between adjacent voices | Except for bass and tenor, should never exceed an octave |
| Close Position | The upper 3 voices (soprano, alto, tenor) are as close together as possible |
| Open Position | The upper voices are separated so that a chord tone could be inserted between alto and soprano or alto and tenor |
| Keyboard Style | The distance between soprano and tenor is an octave or less and vocal ranges (particularly in the tenor) need not be strictly observed |
| What melodic intervals are forbidden? | The melodic augmented 2nd (as are leaps larger than an octave) |
| After any large melodic leap, what is it best to do? | Is best to change direction |
| What types of simultaneous motions are forbidden? | Parallel perfect 5hs |
| P5 followed by d5 | Is usually OK |
| d5 followed by P5 | Is usually NOT ok |
| Hidden 5ths or Octaves | Occur where the 5th or octave is approached by similar motion= Hidden Octaves in the outer voices should be avoided unless the soprano moves by step |
| Voice Crossing | Is best avoided where it involves an OUTER voice |
| Voice Overlap | Is best avoided in general (except in Keyboard Style) |
