CITATION — REFERENCE ENTRY
Chords in SATB style — Open Music Theory
- Key
- brady-hamm-omt-satb
- Authors
- Brady, Samuel; Hamm, Chelsey
- Issued
- 2023
- Type
- chapter
- Container
- Open Music Theory
- Publisher
- VIVA Pressbooks
Raw CSL JSON
{
"URL": "https://viva.pressbooks.pub/openmusictheory/chapter/chords-in-satb-style/",
"type": "chapter",
"title": "Chords in SATB style",
"author": [
{
"given": "Samuel",
"family": "Brady"
},
{
"given": "Chelsey",
"family": "Hamm"
}
],
"issued": {
"date-parts": [
[
2023
]
]
},
"publisher": "VIVA Pressbooks",
"container-title": "Open Music Theory"
}
Claims
-
Music theorists sometimes reduce compositions to four parts named after the voices of a choir: soprano, alto, tenor and bass (SATB). In strict SATB style, each voice has a conventional range, adjacent upper voices are no more than an octave apart and tenor and bass no more than a twelfth, voices do not cross, and the leading tone and other tendency tones such as chordal sevenths are not doubled.
"Music theorists sometimes simplify compositions into four parts (or voices ) in order to make their harmonic content more readily accessible. This practice is called SATB style , abbreviated after the four common voice parts of a choir–– soprano (S), alto (A), tenor (T), and bass (B). ... There should be no more than an octave between adjacent upper voices (soprano and alto, alto and tenor) and no more than a twelfth between the tenor and bass. ... The ranges of voices should not cross. ... However, there is an exception to this: the leading tone is never doubled. Other tendency tones, such as chordal sevenths , are also never doubled."
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