Procedures of Four-Part Writing

Chord Construction and Voice-Leading

Four Voices
Soprano
Alto
Tenor
Bass

Soprano Alto Tenor Bass

Notation Style
Notation Style

Soprano and alto in the treble clef

Notation Style

Soprano and alto in the treble clef

Bass and tenor in the bass clef
Notation Style

Soprano and alto in the treble clef

Bass and tenor in the bass clef
Stems distinguish one voice from another
Notation Style

Soprano and alto in the treble clef

Bass and tenor in the bass clef
Stems distinguish one voice from another
Note the unison on the third beat
Doubling

All else being equal, its best to double the root

However, any note of a chord may be doubled unless it is a
note which requires a specific resolution, such as:
The 7th of a seventh chord
The leading tone
Doubling

Do not think of double the root as a hard-and-fast rule.

A progression can be vastly improved sometimes by
doubling notes other than the root.
Doubling
In this first example, doubling the root of the first two chords results in a parallel
fifth (an illegal motion) being written between the two inner voices.

In this revision, the third of each chord is doubled (between tenor and soprano in the
first chord, and between bass and tenor in the second chord) and solves the problem.
Complete and Incomplete Chords

Chords are complete when they contain at least one instance

of each chord element (root, 3rd, 5th, etc.)
Chords are incomplete when one of those elements is
missing.
Incomplete Chords

It is sometimes necessary to write incomplete chords to

avoid problems with voice-leading.
Do not write incomplete chords in inversions
Generally speaking double (or triple) the root and omit
the fifth of the chord
Never omit the 3rd of a chord!
Spacing

Do not allow more than one octave between two adjacent

voices
Between bass and tenor the distance may be as much as two
octaves
 Exercises: Tonic Triad

bbb 2 1 2

3 4
5
6 7

9
10

& 4

? b 24
bb
6 6$ 6 6

bb
& b
1 2 3 4 5

? bb

b
& 4

? b 24
bb
Exercises: Dominant Triad
6 6$ 6 6

bb
& b
1 2 3 4 5

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b
6$ 6

bbb
1 2

3

4

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&


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?b
bb
Exercises: Dominant 7th Chord
6$ 6

bbb
1 2

3

4

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4 6% 4"
Open and Close Position

Open: a chord element could be placed between any two of

the upper three voices
Close: no chord elements could be placed between any of
the upper three voices
Identifying Close and Open
Identifying Close and Open
Identifying Close and Open

Open
Identifying Close and Open
Identifying Close and Open
Identifying Close and Open

Open
Identifying Close and Open
Identifying Close and Open
Identifying Close and Open

Close
Identifying Close and Open
Identifying Close and Open
Identifying Close and Open

Open
Identifying Close and Open
Identifying Close and Open
Identifying Close and Open

Close
Keyboard Style

Comes from the old system of realizing a figured bass line

The right hand is used to play the upper three voices, while
the left hand plays the bass
The upper three voices are written in the treble clef, while
the bass line is written in the bass
The soprano line may or may not be stemmed separately
from the alto and tenor
Keyboard Style
Melodic Motion
Melodic Motion

Conjunct Motion
Melodic Motion

Conjunct Motion
Disjunct Motion
Leaps
Leaps

Small leaps (up to about a fifth) arent much of a problem

Leaps

Small leaps (up to about a fifth) arent much of a problem

Larger leaps need to be handled more carefully:
Leaps

Small leaps (up to about a fifth) arent much of a problem

Larger leaps need to be handled more carefully:
The octave is the maximum distance
Leaps

Small leaps (up to about a fifth) arent much of a problem

Larger leaps need to be handled more carefully:
The octave is the maximum distance
Avoid two in a row in the same direction, unless they
arpeggiate a triad (and even then be careful!)
Leaps

Small leaps (up to about a fifth) arent much of a problem

Larger leaps need to be handled more carefully:
The octave is the maximum distance
Avoid two in a row in the same direction, unless they
arpeggiate a triad (and even then be careful!)
Generally after a larger leap, return stepwise in the
opposite direction whenever possible
Leaps

Small leaps (up to about a fifth) arent much of a problem

Larger leaps need to be handled more carefully:
The octave is the maximum distance
Avoid two in a row in the same direction, unless they
arpeggiate a triad (and even then be careful!)
Generally after a larger leap, return stepwise in the
opposite direction whenever possible
Do not allow a leap of an augmented second
Leaps

These are all good

Leaps

These are leaps involving sixths and above

good good poor poor good poor forbidden

Leaps

Multiple leaps, some good, some not

poor good good good

Simultaneous Motion
Simultaneous Motion
Parallel Motion
Both voices move in the same direction and retain the
same interval between them
Simultaneous Motion
Parallel Motion
Both voices move in the same direction and retain the
same interval between them
Similar Motion
Both voices move in the same direction, but the interval
between them changes
Simultaneous Motion
Parallel Motion
Both voices move in the same direction and retain the
same interval between them
Similar Motion
Both voices move in the same direction, but the interval
between them changes
Oblique Motion
Only one voice moves while the other remains stationary
Simultaneous Motion
Parallel Motion
Both voices move in the same direction and retain the
same interval between them
Similar Motion
Both voices move in the same direction, but the interval
between them changes
Oblique Motion
Only one voice moves while the other remains stationary
Contrary Motion
The voices move in opposite directions
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Similar
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Contrary
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Parallel
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Oblique
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Parallel
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Contrary
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Trick Question! No motion at all

Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Oblique
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Contrary
Simultaneous Motion
Simultaneous Motion
Simultaneous Motion

Similar
Forbidden Parallel Motions
Forbidden Parallel Motions

Motion by octaves
Forbidden Parallel Motions

Motion by octaves

Motion by unisons
Forbidden Parallel Motions

Motion by octaves

Motion by unisons

Motion by fifths
Forbidden Contrary Motions
Forbidden Contrary Motions

Octaves
Forbidden Contrary Motions

Octaves

Fifths
Hidden (Direct) Motions
Hidden (Direct) Motions

Fifths
Hidden (Direct) Motions

Fifths

Octaves
Hidden (Direct) Motions
Hidden (Direct) Motions

Hidden, or direct, motion is a problem only if:

Hidden (Direct) Motions

Hidden, or direct, motion is a problem only if:

1. It occurs between the outer voices AND
Hidden (Direct) Motions

Hidden, or direct, motion is a problem only if:

1. It occurs between the outer voices AND
2. The soprano is moving by leap
Hidden (Direct) Motions

Hidden, or direct, motion is a problem only if:

1. It occurs between the outer voices AND
2. The soprano is moving by leap
Otherwise, dont worry about it
Voice Crossing
Voice Crossing

Forbidden for now

Overlapping
Overlapping

Forbidden for now

Practice

The following progression contains many mistakes of chord

construction and voice-leading. Find as many as you can.
Hint: there are at least 23 errors!
Parallel octaves between soprano and bass
Doubled leading tone between bass and soprano
Incomplete chord: no 3rd
Parallel fifths between soprano and bass
Hidden octave between soprano and bass
Parallel unison between tenor and alto
Hidden octave between bass and soprano
Overlap between alto and soprano
Spacing error between tenor and alto
Parallel fifth between bass and alto
Parallel fifth between bass and alto
Improperly incomplete chord: no 3rd
Parallel fifths between tenor and alto
Parallel octaves between bass and soprano
Fifths by contrary motion between bass and tenor
Voice crossing between tenor and alto
Voice crossing between tenor and alto
Parallel fifths between bass and tenor
Doubled leading tone in tenor and soprano
Voice crossing between tenor and alto
Parallel octaves between alto and bass
Voice crossing between tenor and alto
Incomplete chord: no 3rd