Voice Ranges MAIN RULES

Suggestions
Bass: E2-C4 Keep voices in ranges
No voice overlaps or voice crossings Bass and Soprano don't move in parallel
Tenor: C3-F4 motion
Avoid Augmented Second and Augmented fourth (these are leaps up of minor 3rd and tritone)
Alto: E3-D5 No parallel octaves, fifths, unisons Move the shortest distance possible
Soprano: B3-A5 Keep upper voices less than an octave apart between chords
Do not double the leading tone
Avoid hidden parallel octaves and fifths in outer voices

MAJOR/MINOR TRIADS DIMINISHED TRIADS

Root Position Are never in root position
Preferred - double root for major and minor triads except double third in vi or VI triads First Inversion
Allowed - double root in vi or VI triads, double 1st, 4th, 5th scale degree for other major and minor triads Preferred:double bass note
Major Triads. Minor Triads Allowed: double root of ii dim or
i Double the 5th of i double fifth of chord in all other
I Double 5th of I ii Double the 3rd of ii cases
ii Double 3rd of ii iii Double the 3rd of iii
iii Double 3rd of iii III Double the 3rd of III
IV Double 5th of IV iv Double the 5th of iv
V Only root can be doubled IV Double the 5th of IV
v Only the root can be doubled in v
VI Double root of VI V Only the root can be doubled in V DIMISHED SEVENTH AND HALF-
vi Double the root of vi
DIMINISHED SEVENTH
VI Double the root of VI
Resolution of the seventh
VII Double the 5th of VII
Preferred - Resolve the tritone or at least the
First Inversion lower tritone
Preferred - Double the Soprano but in series of first inversions, double the bass and soprano alternately Allowed - pretty much any including -5->5
Allowed - Double the bass note (tritone to fifth or fourth in parallel motion)

Second Inversion
Use only when:Bass note is pedal or passing tone or In I6/4 ->V->I or When bass note is part of arpeggio
Always double the bass note

NON-DOMINANT 7th CHORDS

DOMINANT 7th
In V7->I, V7->vi, V7->VI seventh resolves down in same voice
If resolution of seventh is not part of next chord, seventh can't resolve
Sometimes the resolution is delayed or (more rarely) does not occur
5th in 7th can be omitted if needed and root doubled
When 7th chords occur in succession, as in secondary dominants, the 5th is often omitted
Resolution Type 1: 7th resolves to 3rd, chord root descends 5th
for I->IV, ii->V, iii-vi, vi->ii, i->iv, iidim -> V (VI7->iidim in minor mode, VI7 is
always in inversion)
Type 2: 7th resolves down, root ascends a step for IV->V or (rarer) I,i->2, ii->iii,
iii->iv, VI-VII

Type 3: 7th resolves down, root descends a third for ii->vii

Non-resolution implies modern style.