Four-part harmony - Wikipedia

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https://en.wikipedia.org/wiki/Four-part_harmony

Four-part harmony
From Wikipedia, the free encyclopedia

The term "four-part harmony" refers to

music written for four voices or for some
other musical mediumfour musical
instruments or a single keyboard instrument,
for examplewhere the various musical parts
can give a different note for each chord of the
music.
The four main voices are typically labelled as:
soprano (or treble),[2] alto (contralto or
countertenor), tenor, and bass. Because most
singers have a relatively limited range, the
upper notes of the soprano or tenor part
cannot be sung by a bass singer.[3]
Conversely, the lower notes of the bass part
typically cannot be reached by a soprano
voice, with some notes so low that alto and
tenor voices cannot reach them either.
Even groups of just four people, singing as
quartets, can perform in four-part harmony.

Four-voice texture in the Genevan psalter: Old

124th.[1] Play

Sheet music is written representation of music. This is

a homorhythmic (i.e., hymn-style) arrangement of a
traditional piece entitled "Adeste Fideles", in standard
two-staff format for mixed voices. Play

Contents
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2
3
4
5

In European classical music

Genres
Four parts for instruments
See also
References

In European classical music

In the baroque era, a set of rules developed for voice leading in four-part harmony. The bass voice
would be assigned the root of the chord, although it would occasionally be assigned to the fifth. If
the chord is a triad, the root is generally double by one of the other voices. Voices never cross; that
is, the soprano part would always be the highest in pitch, the next highest would be the alto, next

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the tenor, and the bass would be lowest. When two voices harmonized in perfect intervals, they
were forbidden from staying in the same perfect harmony in the next chord, also known as moving
in parallel. Another rule concerns authentic cadences. In such cadences, the leading tones are
required to resolve to the tone a half step away. That is, the voice that plays the 7th must also play
the resolution up to the tonic, and if the fifth chord is a dominant seventh, the fourth must resolve
down to the third. These rules are still obeyed now in strict four part harmonizations, although most
compositions now apply less strict forms of voice leading. [4][5]

Genres
Barbershop quartets, originally from English-speaking North America, usually consist of four
men or women who sing first tenor (called tenor), second tenor (called lead), baritone, and
bass parts. A barbershop quartet typically sings with extra focus on emphasizing or
exaggerating the harmonies in a piece of music, rather than singing in quiet supporting roles.
The supporting voices can provide counter-melodies, close harmonies, or a walking bass to
the melody line, which is sung in a middle voice. The harmonies are typically rooted in the
chromatic aesthetics of early 20th-century popular music.
Cantu a tenore is a Sardinian style, traditionally sung by men, wherein the second highest
voice sings the melody, which the other voices accompany with a chant using nonsense
syllables.
The gospel quartet of the United States sings Christian material of a similar style to
barbershop quartets, but may also include spirituals and traditional hymns.
A Croatian klapa consists of four male parts, sometimes doubled, with the melody sung freely
by a middle voice.

Four parts for instruments

Some music is written, in four-part harmony, for small groups of only four instruments, such as a
string quartet, a brass quartet, or a woodwind quartet. For instance, string quartets sometimes
feature four part harmonizations, with the violins playing the top two parts, the viola playing the
tenor part, and the cello taking the bass part.However, due to the range of musical instruments
covering more pitches than a typical human voice, a quartet might play some harmonies with very
high notes or very low notes, rather than the blended range of choral music.
Beyond quartets, in large orchestras or musical bands, the larger sections of instruments, such as
violins, cellos, clarinets, flutes, trumpets, or French horns often have music written in four-part
harmony. Similar to vocal music, the first part for a section of instruments typically plays the
melody line, in some passages of a composition, with the other parts playing the supporting
harmonies. The third part is often a harmonic mirror of the first part, which will sound somewhat
melodic as well (if played separately). However, the second and fourth parts usually play close
harmonies, in a more monotonous range, and rarely sound as melodic as the third part. Because
musical instruments typically have a wider range than a human voice, any instrument in each
section of a band or orchestra is able to play any of the four parts, although the first part often has

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high notes, or faster notes, that only a more experienced musician can play well.

See also
Chorale
Hymn tune

References
1. Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.159. Seventh Edition. ISBN
978-0-07-294262-0.
2. McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group.
ISBN 978-1-56593-940-0.
3. Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company.
ISBN 978-1-877761-64-5.
4. "Basic Concepts of Four-Part Writing". Earlham College Music.
5. Smey, Dave. "Important Rules for 4-Part Progressions" (PDF). Dave Smey. Retrieved 19 September
2016.

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