Part I

Voicing Chords for S.A.T.B.

I in C+ for S.A.T.B

Since we are often writing triads set for four voices, part of our work involves deciding on which of the triad's chord tones to double. More often than not we simply double the root of the chord. Nevertheless, there are many opportunities to double other chord tones. As we will see, the choice of doublings is always to satisfy the basic principles of voice leading: resolving active tones in the chord, and creating meaningful melodic lines, especially in the upper voices.

The interval between any two of the upper voices can be up to an octave. The distance between the tenor and the bass can be up to a twelfth. Voices should not cross. For example, the soprano is always the highest note in a chord.