skills/ensemble-arranging/references/choir.md

# Choir and vocal groups

## Roles

| Ensemble | Parts | Melody in |
| --- | --- | --- |
| SATB choir | soprano-voice, alto-voice, tenor-voice, bass-voice | soprano |
| SAB or three-part | soprano-voice, alto-voice, bass-voice (or tenor-voice) | soprano |
| men's quartet (barbershop) | tenor-voice ("Tenor"), tenor-voice ("Lead"), bass-voice ("Baritone"), bass-voice ("Bass") | lead, second from top |
| gospel | lead voice plus SAT or SAB backing | lead, backing answers |
| unison with accompaniment | voice plus piano or guitar | voice |

## Comfortable ranges (sounding)

| Part | Comfortable | Peak only |
| --- | --- | --- |
| soprano | D4 to F5 | G5 to A5 |
| alto | A3 to C5 | D5 |
| tenor | D3 to F4 | G4 |
| bass | G2 to A3 | E2 low, C4 high |

## Part-writing

- Homophonic (hymn) style for texted music: all voices in the melody's
  rhythm, one note per syllable; a melisma of two or three stepwise eighths
  at most.
- Complete triads; double the root; drop the 5th before the 3rd.
- Spacing: soprano to alto within an octave, alto to tenor within an
  octave, tenor to bass up to a twelfth.
- No crossing, no overlap. Inner voices by step or common tone. Soprano
  and bass in contrary or oblique motion at cadences.
- No parallel fifths or octaves between any pair; parallel thirds and
  sixths welcome.
- Leading tone up, chordal 7th down, suspensions resolve down by step.
- Bass sings roots on strong beats, 5ths and 3rds on weak beats, moves by
  step or fifth.
- Cadences end phrases: half cadence on V at bar 4, authentic cadence at
  bar 8 with the soprano landing on the root or 3rd.
- Alterations: choir writing stays diatonic except one secondary dominant or
  borrowed chord per eight bars.

## Breath and phrasing

- Every voice rests or holds a long note at least every two bars.
- Phrases begin together; a voice may enter late for a staggered effect,
  never leave early without a rest.
- Repeated notes are natural (repeated syllables); a leap larger than a
  fifth is followed by a step back.
- Unison or two-part writing for a phrase gives contrast before the full
  four parts return.

## Gospel and pop vocal groups

- Lead sings the melody with space; backing voices answer in the gaps with
  short homophonic figures on the hook words, in thirds and sixths, or hold
  a chord under the lead's long notes.
- Backing voices sit below the lead when the lead is a soprano, around and
  below when the lead is a tenor.
- Piano comps rootless voicings; bass, if present, takes the roots.