Four-part voice leading refers to a style of part writing that features the four traditional choral voices: soprano (S), alto (A), tenor (T), and bass (B). For this reason, four-part voice leading is also known as SATB voice leading or SATB part writing. ## Vocal Ranges Vocal range refers to how high or low a voice can sing. While there is no universal consensus on vocal ranges amongst theorists, **Example 1** below shows some recommended ranges for class use. Note that each voice has a range of a 12th with the tenor’s range exactly one octave below than the soprano’s. **Example 1.** Recommended vocal ranges for class use. ![[four-part voice leading example 1.png]] ### Tessitura *Tessitura* refers to the range in which most of the notes of a given passage or piece of music lie for a voice or instrument. In general, it is preferable for each voice’s tessitura to lie in the mid to low portion of their vocal range. **Example 2** shows two different tessiture for a soprano voice. The first encompasses the low to mid portion of the soprano’s vocal range whereas the second encompasses the high portion. This does not mean that one can never write for the high portions of each vocal range, but rather that one should do so sparingly. Extended high passages can be difficult and tiresome to sing. **Example 2.** Two tessiture for soprano voice. ![[four-part voice leading example 2.png]] ## Hard Rules 1. Resolve all tendency tones. - *Ti* → *do* - Except when using a free resolution. - Except when frustrating the leading-tone in sequences. - *Fa* → *mi* - Except when using a free resolution. - *Le* → *sol* 2. Avoid parallel perfect consonances (e.g., P1, P5, and P8) in all voices, including P5s or P8s by contrary motion. 3. Perfect consonances in the outer voices (soprano and bass) must be approached through oblique or contrary motion. Breaking this rule creates hidden fifths or hidden octaves. - Except when soprano moves by step. 4. No more than an octave between: - Soprano and alto. - Alto and tenor. 5. Avoid crossed and overlapped voices. 6. In three-note chords, double the most logical chord member. Never double tendency tones as this will require you to break either rule 1 or 2. From most to least common, the doubling preferences are: - Root - Fifth - Third