Questions: Four-Part Writing (SATB)

Question 1

In a root-position major triad in SATB writing, which chord tone is the standard choice for doubling?

• A. The third
• B. The fifth
• C. The root
• D. The seventh

Answer: (C)

The root is the most stable tone and the conventional doubling choice. The third is the most characteristic active tone of the triad — doubling it overemphasizes the chord's color and can unbalance the sonority. The seventh does not appear in simple triads. This is one of the most common errors in student four-part writing.

Question 2

Parallel fifths are primarily prohibited between the outer voices (Soprano and Bass) in SATB writing; they are permitted between inner voices.

• T. True
• F. False

Answer: False

Parallel fifths are prohibited between ANY two voices — all six pairings (SA, ST, SB, AT, AB, TB). The ban applies universally in common-practice four-part writing. Outer-voice parallels are most acoustically prominent and easiest to spot, which may contribute to the misconception, but the rule covers every voice pair.

Question 3

Why are Soprano, Alto, and Tenor kept within an octave of each other while Bass is allowed to be more than an octave below Tenor?

Model answer: The upper three voices form a blended harmonic unit — keeping them within an octave ensures they fuse into a coherent texture. The bass functions as a separate foundation voice; wide spacing below the tenor is acoustically normal because low intervals sound muddy when compressed, so the bass needs room to project without crowding the inner voices.

This spacing convention reflects centuries of acoustic observation in choral and keyboard music. Upper voices blend best when close; the bass defines the harmonic root from below and works naturally at wider intervals. Understanding the reason (not just the rule) helps you apply the principle in unusual voicings.