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Voice Ranges Bass: E2-C4 Tenor: C3-F4 Alto: E3-D5 Soprano: B3-A5

Voice Ranges Bass: E2-C4 Tenor: C3-F4 Alto: E3-D5 Soprano: B3-A5.

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Voice Ranges Bass: E2-C4 Tenor: C3-F4 Alto: E3-D5 Soprano: B3-A5

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  1. Voice RangesBass: E2-C4Tenor: C3-F4Alto: E3-D5Soprano: B3-A5 • MAIN RULESKeep voices in rangesNo voice overlaps or voice crossingsAvoid Augmented Second and Augmented fourth (these are leaps up of minor 3rd and tritone)No parallel octaves, fifths, unisonsKeep upper voices less than an octave apartDo not double the leading toneAvoid hidden parallel octaves and fifths in outer voices • SuggestionsBass and Soprano don't move in parallel motionMove the shortest distance possible between chords Voice RangesBass: E2-C4Tenor: C3-F4Alto: E3-D5Soprano: B3-A5 • DIMINISHED TRIADSAre never in root positionFirst InversionPreferred:double bass noteAllowed: double root of ii dim or double fifth of chord in all other cases Major Triads.I Double 5th of I ii Double 3rd of ii iii Double 3rd of iii IV Double 5th of IV V Only root can be doubled VI Double root of VI Minor Triadsi Double the 5th of i ii Double the 3rd of ii iii Double the 3rd of iii III Double the 3rd of III iv Double the 5th of iv IV Double the 5th of IV v Only the root can be doubled in v V Only the root can be doubled in V vi Double the root of vi VI Double the root of VI VII Double the 5th of VII • DIMISHED SEVENTH AND HALF-DIMINISHED SEVENTHResolution of the seventh Preferred - Resolve the tritone or at least the lower tritoneAllowed - pretty much any including -5->5 (tritone to fifth or fourth in parallel motion) MAJOR/MINOR TRIADS Root Position Preferred - double root for major and minor triads except double third in vi or VI triads Allowed - double root in vi or VI triads, double 1st, 4th, 5th scale degree for other major and minor triads • First Inversion • Preferred - Double the Soprano but in series of first inversions, double the bass and soprano alternately • Allowed - Double the bass note • 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 • DOMINANT 7thIn V7->I, V7->vi, V7->VI seventh resolves down in same voiceIf resolution of seventh is not part of next chord, seventh can't resolveSometimes the resolution is delayed or (more rarely) does not occur5th in 7th can be omitted if needed and root doubledWhen 7th chords occur in succession, as in secondary dominants, the 5th is often omitted • NON-DOMINANT 7th CHORDSResolution Type 1: 7th resolves to 3rd, chord root descends 5thfor 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-VIIType 3: 7th resolves down, root descends a third for ii->viiNon-resolution implies modern style.

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