Part Writing Rules SATB

Part Writing Rules (SATB)
Soprano on the Treble Clef (Stems up) (C4-C6)

Alto on the Treble Clef (Stems down) (G3-G5)
Tenor on the Bass Clef (Stems up) (C3-C5)
Bass on the Treble Clef (Stems down) (E2-C4)
Chords may be in open or close spacing. Chords are in open spacing when you
can put another chord tone in between the soprano (S) and alto(A) and/or
between the A and tenor (T) voices. Chords are in close spacing when no
chord tone can be placed between the SA or AT voices.
The maximum distance between SA and AT is a P8; between TB, the maximum
distance is 2 P8s.
1. Do not cross voices (in the same chord). Do not overlap voices (between two
adjacent chords).
2. Use contrary or oblique motion to the bass more frequently than similar motion.
Use parallel motion only when necessary.
Contrary motion -- voices move in opposite directions.

Oblique motion -- one voice remains on the same note while the other
voice moves.
Similar motion -- voices move in the same direction by different
intervals.
Parallel motion -- voices move in the same direction by the same
interval.
3. NEVER write parallel P1, P5 or P8.

4. DOUBLE THE STABLE TONE IN A CHORD.
5. Never double the leading tone.
6. In root position triads, double the root
EXCEPT:
7. In diminished triads, double the 3rd (not a note of the tritone).
In V-VI in minor keys, double the 3rd of the VI chord.
c: i
8. In first inversion triads, double a stable tone. OR: double the soprano. OR:
double the 1, 4, or 5 scale degree.
9. In second inversion triads, always double the bass.
10. In Incomplete triads, triple the root, include the third, and omit the fifth.
11. In Incomplete seventh chords, double the root, include the third and the seventh.
12. MOVE TO THE NEAREST CHORD TONE AT ALL TIMES.

13. Use conjunct motion (stepwise) as much as possible.
14. Do not leap (skip) in a voice (melodically) more than a P8. Try to limit leaps in the
soprano to a M6, in the tenor and alto to a P4.
15. Do not leap twice in the same direction unless outlining a triad.
16. Don't write hidden octaves or fifths -- don't move in the same direction in the
outer voices (soprano and bass) and by leap in the soprano to an octave or a
fifth.
17. Don't write hidden octaves or fifths -- don't move in the same direction in the
outer voices (soprano and bass) and by leap in the soprano to an octave or a
fifth.
18. Don't use augmented or diminished intervals melodically.
19. RESOLVE NOTES IN THE DIRECTION OF THEIR INFLECTION.

20. Resolve active tones in the direction of their tendency.
21. The leading tone in the Soprano or Bass must resolve to tonic. In an inner voice,
it may resolve down to the 5 (frustrated leading tone).
22. Resolve sevenths of chords down by step. Resolve the 7th of a V7 down by step.
23. Resolve tritones as follows: A4 will resolve out, d5 in.
24. It is OK to move from a P5 to a d5 (unequal fifths), but not from a d5 to a P5 (the
tritone doesn't resolve).
25. Altered notes: If note is raised, continue going up. If note is lowered, continue
going down.
26. Keep chromatic movement of a note in the same voice; don't write cross relations
especially between the outer two voices.
* Soprano and bass are collectively known as the outer voices, alto and tenor are the inner voices.
* There is no internationally agreed standard for SATB ranges although the data in the SATB table is as good a
guide as any. (E2 82Hz- C6 1046Hz.)
* Each of the four ranges in SATB individually spans about two octaves. The outer voices, bass and soprano, occupy
separate and distinct ranges that do not overlap. The inner voices, alto and tenor, overlap with each other and
with the two outer voices. There are finer gradations for overlapping ranges:
Mezzo-soprano: overlapping soprano and alto.

Contralto: overlapping alto and tenor (female singer).
Countertenor: overlapping alto and tenor (male singer).
Baritone: overlapping tenor and bass.
https://www.youtube.com/watch?v=yVphAc3_J9I (Stable Notes)
https://www.youtube.com/watch?v=DU0ZuBccJ2o (Conjunct and Disjunct Motion

Stepwise Motion vs. Skips in Melody)

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Part Writing Rules (SATB)

Soprano on the Treble Clef (Stems up) (C4-C6)

Contrary motion -- voices move in opposite directions.

3. NEVER write parallel P1, P5 or P8.

12. MOVE TO THE NEAREST CHORD TONE AT ALL TIMES.

19. RESOLVE NOTES IN THE DIRECTION OF THEIR INFLECTION.

Mezzo-soprano: overlapping soprano and alto.

https://www.youtube.com/watch?v=yVphAc3_J9I (Stable Notes)

https://www.youtube.com/watch?v=DU0ZuBccJ2o (Conjunct and Disjunct Motion

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