Voice Ranges Bass: E2-C4 Tenor: C3-F4 Alto: E3-D5 Soprano: B3-A5

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Voice RangesBass E2-C4Tenor C3-F4Alto
E3-D5Soprano B3-A5

• MAIN RULESKeep voices in rangesNo voice
  overlaps or voice crossingsAvoid Augmented
  Second and Augmented fourth (these are leaps up
  of minor 3rd and tritone)No parallel octaves,
  fifths, unisonsKeep upper voices less than an
  octave apartDo not double the leading toneAvoid
  hidden parallel octaves and fifths in outer
  voices

Voice RangesBass E2-C4Tenor C3-F4Alto
E3-D5Soprano B3-A5

• SuggestionsBass and Soprano don't move in
  parallel motionMove the shortest distance
  possible between chords

• MAJOR/MINOR TRIADS
• Root Position
• Preferred - double root for major and minor
  triads except double third in vi or VI triads
• Allowed - double root in vi or VI triads, double
  1st, 4th, 5th scale degree for other major and
  minor triads

• DIMINISHED TRIADSAre never in root
  positionFirst InversionPreferreddouble bass
  noteAllowed double root of ii dim or double
  fifth of chord in all other cases

Minor Triadsi Double the 5th of i ii Double the
3rd of ii iii Double the 3rd of iii III Double
the 3rd of III iv Double the 5th of
iv IV Double the 5th of IV v Only the root can
be doubled in v V Only the root can be doubled
in V vi Double the root of vi VI Double the
root of VI VII Double the 5th of VII
Major Triads.I Double 5th of I ii Double 3rd
of ii iii Double 3rd of iii IV Double 5th of
IV V Only root can be doubled VI Double root
of VI

• DIMISHED SEVENTH AND HALF-DIMINISHED
  SEVENTHResolution of the seventh Preferred -
  Resolve the tritone or at least the lower
  tritoneAllowed - pretty much any including -5-gt5
  (tritone to fifth or fourth in parallel motion)

• First Inversion
• Preferred - Double the Soprano but in series of
  first inversions, double the bass and soprano
  alternately
• Allowed - Double the bass note
• Second Inversion
• Use only whenBass note is pedal or passing tone
  or In I6/4 -gtV-gtI or When bass note is part of
  arpeggio
• Always double the bass note

• DOMINANT 7th In V7-gtI, V7-gtvi, V7-gtVI seventh
  resolves down in same voiceIf resolution of
  seventh is not part of next chord, seventh can't
  resolveSometimes the resolution is delayed or
  (more rarely) does not occur5th in 7th can be
  omitted if needed and root doubledWhen 7th
  chords occur in succession, as in secondary
  dominants, the 5th is often omitted

• NON-DOMINANT 7th CHORDSResolution Type 1 7th
  resolves to 3rd, chord root descends 5thfor
  I-gtIV, ii-gtV, iii-vi, vi-gtii, i-gtiv, iidim -gt V
  (VI7-gtiidim in minor mode, VI7 is always in
  inversion)Type 2 7th resolves down, root
  ascends a step for IV-gtV or (rarer) I,i-gt2,
  ii-gtiii, iii-gtiv, VI-VIIType 3 7th resolves
  down, root descends a third for
  ii-gtviiNon-resolution implies modern style.

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