Spread your chord tones out so that there is room for chord tones between the Soprano, Alto, and Tenor - this is called OPEN VOICING (when your chord tones in S, A, and T are so close that no chord tones can fit between them, that would be called CLOSED VOICING). The Bass can be over an octave lower than the Tenor but try to keep it ≤ P12 Keep your Soprano, Alto, and Tenor voices within an octave of each other (S - A ≤ P8 A - T ≤ P8).
Put the notes in the range a singer/vocalist could sing for that voice part. When deciding where to place each note, follow these three guidelines: You have a lot of freedom of where you can place the notes of your first chord - after your first chord, you will base each next chord on the previous chord. There are no strict rules here, but there are best practices and these guidelines tend to be identical to Species Counterpoint guidelines. In Music Theory II, we will introduce a four-note chord (called a seventh chord because it uses the scale degrees 1 - 3 - 5 - 7) that will then fill up all four voices of the SATB part writing. There is one exception to the “double the Bass note” rule below. When we put these notes in order to make a triad, they spell Cx2 - E - G which is a C Major triad with the Root doubled in the Bass and Soprano. In the figure above, the SATB voicing of the chord is: C - G - E - C (reading from the bottom up). Most of the time, you should double the bass note somewhere above in the Tenor, Alto, or Soprano voice. We will DOUBLE a chord tone, meaning that it will appear in two voices. You are correct! Triads only have three notes, but we have four “voices” (SATB) to assign a note from the three-note triad. The Soprano and Tenor “voices” (melodies) always use stems up and the Alto and Bass voices always use stems down. SOPRANO and ALTO stay in the treble clef and TENOR and BASS stay in the bass clef. This style of writing is called SATB PART WRITING (for Soprano, Alto, Tenor, Bass) and you will notice that each voice stay in the same area of a clef and the stems point in the same direction.
Given a key signature, a single note in the bass, and the presence (or lack) of symbols/figures below the note, we can build a 4-note chord that is playable by a single person on a keyboard or singable by a four-part choir with voices in the Bass, Tenor, Alto, and Soprano ranges (like your voice ranges for sight singing). Figured bass is also referred to as BASSO CONTINUO or THOROUGH BASS (they are all the same thing). Here is how it works … FIGURED BASSįIGURED BASS is a music notation style that provides symbolic information below a bass note to inform harmony, including: chord root, chord type, and chord quality. They do so with voice leading guidelines that are almost identical to the guidelines we learned for Species Counterpoint. How a keyboardist does this is by IMPROVISING or AD LIBBING (performing in the moment rather than reading ahead of time) chords that will fit the continuo bass line and the symbols below each note. It looked like SO much fun.Without the Figured Bass symbols, the example above would just be a flute and cello duet (which still sounds really good!) but with the figured bass added, the duet provides enough information for a keyboard musician (such as a pianist, organist, harpsichordist - or even a harpist or guitarist) to play chords along with the music that will sound good accompanying the two composed lines. We’ve been totally OBSESSED with the Radio Disney Music Awards lately! Besides getting a front row seat thanks to our Entertainment Editor Jess, all our fave stars were there looking gorgeous! Dove Cameron, Zendaya and a surprise performance from Justin Bieber.
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