1-1 PLACEMENT OF VOICES 1. Voice Names. a.

The four voices in traditional four-part writing are soprano, alto, tenor, an d bass. These are often abbreviated as SATB. The soprano is the highest voice an d is notated in the treble clef staff with its stems up. The alto is the second highest voice and is notated in the treble clef with its stems down. The tenor i s the third highest voice and is notated in the bass clef with its stems up. The bass voice is the lowest voice and is notated in bass clef with its stems down (Figure 1-1). Figure 1-1. SATB Notation b. When the soprano and alto or tenor and bass are in unison (sounding the same pitch), the stems go up and down on the same note head (Figure 1-2). Figure 1-2. Stemming Shared Note Heads NOTE: The soprano part is often called the melody. The alto and tenor parts are called the inner voices. The bass part is called the bass line. 2. Voice Ranges The normal singing range for the soprano, tenor, and bass voices is an octave an d a sixth (Major 13th). The alto range is an octave and a fifth (Perfect 12th). Figure 1-3 shows the notes of each voice range. Avoid using the extreme range (t he highest or lowest note or two) of each voice unless dictated by the voice lea ding. Figure 1-3. SATB Ranges 3. Voice Doubling In four part writing, the three-note triad must have one of its tones duplicated . When the triad is in root position (bass voice has the root of the chord), the bass voice and one of the three upper voices will have the same letter name not e. This doubling can be at the unison or any octave relationship. Doubling does not change the harmonic structure of the chord, but it may alter its color and r esonance (Figure 1-4). Figure 1-4. Voice Doubling SELF REVIEW EXERCISE 1-1 Write the inner voices of each triad. Use one third and double the root. The alt o voice should have a note higher than the tenor voice (Figure 1-5). Stay within the voice ranges. Figure 1-5. Voice Doublings Printer-Friendly Version Answer Key 4. Voice Spacing

a. The distance between the soprano and the alto voices must be a simple interva l of an octave or less. b. The distance between the alto and tenor voices must also be a simple interval . c. The distance between the tenor and the bass voices can be either a simple or a compound interval. However, there are restrictions on certain simple intervals between the tenor and bass voices. These restrictions, called low interval limi ts, dictate how low some intervals may be voiced. The restricted intervals are t he minor sixth, the tritone, the third (Major or minor), and the second (Major o r minor). There are no limits on the other intervals within the bass voice range (Figure 1-6). Figure 1-6. Low Interval Limits d. Figure 1-7 shows incorrect and correct voice spacing. Figure 1-7. Incorrect and Correct Voice Spacing SELF REVIEW EXERCISE 1-2 Correct the improperly spaced voicing. Reposition the alto and tenor voices. Do not change the soprano voice (Figure 1-8). Figure 1-8. Correct Voice Spacing NOTE: The term chord is often used when referring to a triad. 5. Open and Close Position a. Triads can be written in either open or close positions. In open position, th e distance between the soprano and the tenor is a ninth or more. In close positi on, the distance between the soprano and the tenor is an octave or less (Figure 1-9). Figure 1-9. Open and Close Position Triads b. The bass voice is not considered in determining open or close position. SELF REVIEW EXERCISE 1-3 Rewrite the following triads in open position. Use one root, one third, and one fifth of each chord to complete the exercise (Figure 1-10). Figure 1-10. Triads in Open Position SELF REVIEW EXERCISE 1-4 Rewrite the following triads in close position. Use one root, one third, and one fifth of each chord to complete the exercise (Figure 1-11). Figure 1-11. Triads in Close Position

6. Voice Motion Good part writing depends on the smooth connection of the individual parts and t heir independence of motion. The term "motion" is used to describe the relative change in pitch of two or more voice parts. Voice motion is usually described in simple intervals. The four types of motion are similar, parallel, contrary, and oblique. a. Similar motion occurs when two voices move in the same direction but produce different numerical interval names (Figure 1-12). Figure 1-12. Similar Motion b. Parallel motion occurs when two voices move in the same direction and produce the same (numerical) interval name (third, sixth, etc.). Interval quality (perf ect, Major, minor, augmented, or diminished) is not considered in determining pa rallel motion. A Major third to a minor third is parallel motion (Figure 1-13). Figure 1-13. Parallel Motion NOTE: When voices move in the same direction, the motion can be called direc t motion. Similar and parallel motions are direct motion. c. Contrary motion occurs when two voices move in opposite directions (Figure 114). Figure 1-14. Contrary Motion d. Oblique motion occurs when one voice sustains or repeats while the other voic e moves (Figure 1-15). Figure 1-15. Oblique Motion NOTE: When voices move in dissimilar directions, the motion can be called in direct motion. Contrary and oblique motions are indirect motion. SELF REVIEW EXERCISE 1-5 Write the type of voice motion in the corresponding blanks provided below the me asures. On the second line write whether the motion is direct or indirect. The f irst measure has been done for you (Figure 1-16). Figure 1-16. Identify Voice Motion 7. Objectionable Voice Motion a. Crossed Voices. Crossed voices occur when the soprano does NOT have the highe st pitch, the alto the second highest, the tenor the third highest, or the bass the lowest pitch. Do not write crossed voices (Figure 1-17). Figure 1-17. Crossed Voices b. Overlapping Voices. Overlapping voices occur when two adjacent voices similar or parallel motion and the lower voice ascends to a pitch above st left by the upper voice. Overlapping voices also occur when the upper escends to a pitch below that just left by the lower voice. Do not write ping voices (Figure 1-18). Figure 1-18. Overlapping Voices NOTE: Measure 1 of Figure 1-18 also has a spacing error between the alto and move in that ju voice d overlap

tenor voices. c. Parallel Voices. (1) Parallel perfect primes, perfect fifths, perfect octaves, and disson ant intervals (seconds, sevenths, augmented, and diminished) should be avoided. Do not write parallel primes, fifths, octaves, and dissonant intervals (Figure 1 -19). Figure 1-19. Objectionable Parallel Voices NOTE: Parallel perfect fifths and parallel perfect octaves are usually called pa rallel fifths and parallel octaves. Repeated notes are not considered parallel f ifths or octaves. (2) A hidden fifth or octave occurs when two voices approach a fifth or an octave in similar motion. A hidden fifth or octave is objectionable only when it occurs between the soprano and bass voice, and the soprano is approached by a leap (Figure 1-20). Figure 1-20. Objectionable Hidden Fifth and Octave (3) Parallel fifths and octaves by contrary motion occur when two voices move by contrary motion from one interval to the same interval. An octave to un ison has the same effect. Do not write parallel fifths or octaves by contrary mo tion (Figure 1-21). Figure 1-21. Objectionable Parallels by Contrary Motion SELF REVIEW EXERCISE 1-6 Correct the crossed voices. Use only the exact pitch (octave) indicated to compl ete the exercise (Figure 1-22). Figure 1-22. Correct Crossed Voices SELF REVIEW EXERCISE 1-7 Draw a solid line to indicate the overlapping voices and draw a dotted line to i ndicate the overlapped voices in each measure. Write the names of the voices ove rlapping and the notes that overlap. There may be more than one overlapping voic e in each measure. The first one has been done for you (Figure 1-23). Figure 1-23. Identify Overlapping Voices SELF REVIEW EXERCISE 1-8 Draw a line to indicate the objectionable parallel motion in each measure. Label parallel fifths with a bracket and the number 5 and parallel octaves with an 8. The first one has been done for you (Figure 1-24). Figure 1-24. Identify Objectionable Parallel Motion SELF REVIEW EXERCISE 1-9 Draw a line to indicate the objectionable hidden motion in each measure. Label h idden fifths with a 5 and hidden octaves with an 8. The first one has been done for you (Figure 1-25). Figure 1-25. Identify Objectionable Hidden Motion SELF REVIEW EXERCISE 1-10 Draw brackets to indicate the parallel voices by contrary motion in each measure . Label parallel fifths by contrary motion with a 5 and parallel octaves by cont

rary motion with an 8. The first measure has been done for you (Figure 1-26). Figure 1-26. Identify Parallel Voices by Contrary Motion