Voice Leading Rules

Number 1

No parallel octaves

Number 2

No parallel fifths

Number 3

Retain the common tone

Number 4

Bass moves ‘root to root’ unless there is an inversion

Number 5

For triads in four part harmony - double the root (first choice), then the fifth (second choice), then the third choice (last choice, with reason)

Number 6

double the fifth as a first choice on 6 4 chords

Number 7

Going I-vi, retain two common tones

Number 8

Tenor line may be the most “static” voice

Number 9

No jumps of an augmented second in a melody

Number 10

Going I-IV - Bass to Bass, retain the common tone, other two voices will ascend

Number 11

Going I-V - Bass to Bass, retain the common tone, other two voices will descend

Number 12

Going IV-V - Bass to Bass, all other voices “get down”

Number 13

Going V-vi - double the third on the vi chord

Number 14

Going V-I - 3rd of the V chord ascends to the Root of the I chord

Number 15

Going V7-I - 3rd of the V chord ascends to the root of the I chord, and the seventh of the V chord descends to the third of the I chord

Number 16

Don’t overlap voices

Number 17

Don’t cross voices

Number 18

No more than an octave between soprano and alto, and alto and tenor. Bass can be more than an octave from tenor.

Number 19

Observe ranges of soprano, alto, tenor, and bass