4 Chords Satb

[Nadal Braymiller]

Handwrittenuppercase Roman numerals have horizontal bars across the top and bottom of the numeral, in order to further distinguish between uppercase and lowercase (Example 2). There is no such difference with lowercase Roman numerals.

In the analysis of Western music, Roman numerals are generally placed below the bottom staff. Some music theorists prefer to use only uppercase Roman numerals, a system which assumes chord quality is intuited; in this textbook, we privilege the distinction of triadic qualities as denoted by uppercase and lowercase Roman numerals.

Additionally, major seventh and dominant seventh chords have the same Roman numeral nomenclature; in other words, a I7 chord and a V7 chord are written the same even though the former is a major seventh chord and the latter is a dominant seventh chord. The difference would be discerned from the musical context.

Roman numerals also denote inversions, shown through figured bass symbols placed after the Roman numeral (see the Inversion and Figured Bass chapter). For example, a superscript 6 represents a first inversion triad, and the figures [latex]^4_3[/latex] would indicate a second inversion seventh chord. Example 5 shows four different inverted chords with Roman numerals:

On a grand staff in SATB style, the soprano and alto are written in the treble clef (upper staff), while the tenor and bass are written in the bass clef (lower staff). The soprano and tenor voices receive up-stems, while the alto and bass parts receive down-stems. If the stem direction is crossed, this is an error. Example 8 shows a chord with incorrect stemming, followed by the corrected version.

Be sure to check each chord for correct notes and accidentals, and make sure that your chords are not missing any notes. In Example 9, the first chord has accidentals erroneously added to two of the pitches, which are removed in the second chord to create a correct B diminished triad in first inversion.

The ranges of voices should not cross. In other words, the soprano must always be higher than the alto, the alto must always be higher than the tenor, and the tenor must always be higher than the bass. In Example 13, the alto and tenor voices are crossed. This error is also the most common between the alto and tenor voices.

A term that summarizes the quality of the third, fifth, and seventh (if applicable) above the root of the chord. Common chord qualities are major, minor, diminished, half-diminished, dominant, and augmented.

The intervals between voices. For chords in strict SATB style, there should be no more than an octave between upper voices (soprano and alto, alto and tenor), and no more than a twelfth between the tenor and bass.

When a higher voice part moves below a lower voice part. In strict SATB style, the ranges of voices should not cross; the soprano must always be higher than the alto, the alto must always be higher than the tenor, and the tenor must be higher than the bass.

The idea of studying by creating is one that has been central to tonal Western art music for centuries. For as long as the tradition has existed, composers, performers, critics, and even casual enthusiasts have engaged in compositional exercises as a means of deepening understanding and appreciation. Although there are many valid ways to approach the study of this music, we feel that creating it oneself, following guidelines derived from observing compositional practice, is one of the most immersive and exciting paths.

When completing a part-writing exercise, one must pay attention to many different things. The shape of each individual melody, the way the melodies interact, and the structure of the chords that result from the combination of voices all require careful planning. With so many things vying for your attention, part-writing exercises can feel a bit like juggling! The following sections of this guide break down the general characteristics and guidelines for each of these considerations.

Scale degrees [latex]\hat2[/latex], [latex]\hat4[/latex], and [latex]\hat6[/latex] tend to resolve down by step to [latex]\hat1[/latex], [latex]\hat3[/latex], and [latex]\hat5[/latex], respectively. This is not to suggest that these scale degrees must resolve in the prescribed fashion. Rather, you should be aware that resolving a tendency tone will have one effect and avoiding the expected resolution will have another.

As much as you must consider the musicality of each melodic line in a polyphonic exercise, you must also consider the counterpoint resulting from how each voice interacts with each other voice. An abundance of contrary motion between voices will help project a sense of independence between the four parts, but you should strive for a variety of motion types by including parallel, direct, and oblique interval progressions as well.

The use of standard interval progressions should be your primary concern here. The majority of interactions between voices in a part-writing exercise should be comprised of standard interval progressions. (See Chapter 12 and Appendix A of Fundamentals, Function, and Form for detailed descriptions of standard interval progressions.)

Pitches forming unisons, fifths, and octaves blend together so well it can become difficult to distinguish between the two voices. When two or more of these intervals are used with parallel motion, the effect is more like a single, strengthened melody than two unique voices. Standing out in the texture in this way, parallel unisons, fifths, and octaves undermine the independence of the voices and should therefore be considered impermissible.

Note that guidelines concerning forbidden interval progressions may vary. Many instructors, for example, may advise you to avoid consecutive fifths by contrary motion since such progressions are effectively equivalent to parallel fifths with an octave displacement:

Generally speaking, direct motion to a perfect fifth or octave is acceptable when it involves either of the inner voices. When it involves both outer voices, it is best if the soprano moves by step. Students working with an instructor should seek clarification on which progressions to avoid.

Keeping track of the contrapuntal relationship between two voices is hard enough, but in an SATB setting there is a lot more happening. With four voices, there are six unique voice pairs: 1) soprano against alto, 2) soprano against tenor, 3) soprano against bass, 4) alto against tenor, 5) alto against bass, and 6) tenor against bass. When completing a part-writing exercise, it is important that you be mindful of each of the six pairs of voices.

At its core, a part-writing exercise is a four-part realization of a chord progression. The notes that appear among the four voices, in other words, are determined by a given series of Roman numerals or other chord symbols. To spell a chord, you must determine the letter name (e.g., F or Eb) of each chord member. Familiarity with different chord types, then, is a necessary prerequisite.

In most cases, the Roman numeral represents the scale degree of the chord root in the key at hand. In G major, for example, a IV chord will have C as its root since C is scale degree [latex]\hat4[/latex] in that key. The quality of the chord is indicated by the case of the Roman numeral as well as any additional symbols appearing to the left or right. (See Chapter 13 of Fundamentals, Function, and Form for review with Roman numeral representations of triads and Chapter 18 for the same with seventh chords.)

Pay careful attention to the quality of each chord, particularly in minor keys. One of the most common errors students make in chord spelling is forgetting to raise scale degree [latex]\hat7[/latex] in minor-key dominant chords. In the following example, a V7 chord in G minor must have F# instead of F to match the case of the Roman numeral:

A triad consists of a root, a third, and a fifth. In part-writing exercises, the various notes of each chord are performed by the soprano, alto, tenor, and bass. This raises a question that must be answered time and time again when realizing a chord progression: How should one distribute the three notes of a triad among the four voices of the exercise? The matter of deciding which chord member should appear in two (or more) voices is referred to as chord doubling.

The preferred doubling in a triad is generally determined by the position of the chord. Since the soprano, alto, and tenor tend to work together as a unit against the bass, it is desirable to have all three chord members represented in the upper voices. In other words, doubling whichever chord member appears in the bass is often a good idea. First-inversion chords, however, offer a bit more flexibility. When the third of a chord appears in the bass, any of the chord members may be doubled. The following table summarizes:

There are several additional restrictions to keep in mind as well. The leading tone should never be doubled, regardless of where it appears in the chord. It has such a strong tendency to resolve to the tonic that a pair of leading tones suggests parallel octaves even if they resolve to different scale degrees. A V(7) chord, then, should never have a doubled third and a viio(7) should never have a doubled root. Chromatic chords like augmented sixth sonorities also have strong tendency tones which should not be doubled. (See Section III of Fundamentals, Function, and Form for guidance on voicing and resolving various types of chromatic harmony.)

Occasionally, a chord member will be tripled. In the resolution of V7, for example, it is common for the tonic resolution to have three roots, one third, and no fifth. (See Chapter 19 of Fundamentals, Function, and Form.) In other cases, a chord may have two roots, two thirds, and no fifth. This is sometimes found when a chord shifts positions (e.g., I moving to I6). The fifth is generally considered the least essential member and for this reason is sometimes omitted.

Seventh chords have four chord members: the root, third, fifth, and seventh. This works out nicely in a four-voice setting since each voice can be assigned a different chord member. To avoid voice-leading errors, a seventh chord may occasionally be written without its fifth. As with triads, the root is generally doubled in these cases. Note that since chordal sevenths have such a strong tendency to resolve down by step, they should never be doubled since, like a doubled leading tone, it would imply parallel octaves.

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