Is there a rule in SATB writing regarding the Soprano & Bass moving in contrary motion?

Understanding Contrary Motion in SATB Writing

When it comes to SATB (Soprano, Alto, Tenor, Bass) writing, composers and arrangers aim to create harmonically rich and independent parts. While there is no strict rule regarding the Soprano and Bass moving in contrary motion, it is generally advised as a technique to achieve this goal. In this article, we will explore the role of contrary motion in SATB writing and its implications for creating compelling choral compositions.

The Basics of SATB Writing

SATB writing refers to the four voices commonly found in choral music: Soprano, Alto, Tenor, and Bass. Each voice has its own unique characteristics and range, harmonizing together to create a balanced and harmonically satisfying texture. When practicing part-writing exercises in SATB writing, composers must carefully consider melody, harmony, and voice leading to create a cohesive musical composition.

Creating Melodies in SATB Writing

Melodies in SATB writing should be singable and easily recognizable to the listener. They should primarily consist of stepwise motion, with occasional larger leaps balanced by stepwise motion in the opposite direction. This ensures that the melody is accessible and enjoyable for both performers and listeners.

Certain intervals, such as tritones, sevenths, and intervals larger than an octave, are generally avoided in melodic lines. These intervals can create dissonance and disrupt the smooth flow of the composition. By adhering to these guidelines, composers can create melodies that are pleasing to the ear and fit well within the overall harmonic structure.

Tendency Tones and Voice Leading

In SATB writing, certain scale degrees, known as tendency tones, have a tendency to resolve in specific directions. Scale degrees 2, 4, 6, and 7 often require resolution to the nearest stable pitch. This resolution helps create smooth and predictable voice leading, enhancing the overall harmonic progression of the composition.

Counterpoint Restrictions in SATB Writing

Counterpoint, the interaction between multiple melodic lines, is an essential aspect of SATB writing. When considering counterpoint, various motion types come into play, including contrary, parallel, direct, and oblique intervals. While contrary motion is generally advised for creating independent parts, the other motion types are also utilized to create interesting and varied musical textures.

Harmonic Considerations in SATB Writing

Standard interval progressions are commonly used in SATB writing to create harmonically pleasing compositions. However, certain progressions, such as parallel unisons, fifths, and octaves, are generally avoided due to their potential for creating unwanted harmonic effects. Composers strive to create harmonic progressions that are both balanced and musically satisfying to the listener.

Avoiding Consecutive Fifths

One specific concern in SATB writing is the avoidance of consecutive fifths. While parallel fifths are generally considered undesirable, some instructors may also advise avoiding consecutive fifths by contrary motion. This is because consecutive fifths created by contrary motion are effectively equivalent to parallel fifths with an octave displacement. By being mindful of this restriction, composers can maintain the desired independence and integrity of each voice in the composition.

Conclusion

In SATB writing, contrary motion serves as a valuable tool for creating independent and harmonically rich parts. While not a strict rule, it is generally advised to achieve musical balance and variety. Composers and arrangers must consider melody, harmony, voice leading, and counterpoint restrictions to create compelling SATB compositions. By adhering to these principles and guidelines, composers can create choral music that is engaging, expressive, and satisfying to both performers and audiences.

Sources:

1. “Is there a rule in SATB writing regarding the Soprano & Bass moving in contrary motion?” Music: Practice & Theory Stack Exchange. Available at: https://music.stackexchange.com/questions/85035/is-there-a-rule-in-satb-writing-regarding-the-soprano-bass-moving-in-contrary
2. “Guide to SATB part-writing – Fundamentals, Function, and Form.” Milne Publishing. Available at: https://milnepublishing.geneseo.edu/fundamentals-function-form-workbook/front-matter/guide-to-satb-part-writing/
3. “A Survey of Music Theory for the College Classroom: Diatonic Harmony.” OERTX. Available at: https://oertx.highered.texas.gov/courseware/lesson/2403/student-old/?task=5

FAQs

What is contrary motion in SATB writing?

Contrary motion in SATB writing refers to the movement of the Soprano and Bass voices in opposite directions. It means that when one voice ascends, the other voice descends, creating a melodic and harmonic contrast.

Is there a strict rule regarding the Soprano and Bass moving in contrary motion?

No, contrary motion is not a strict rule in SATB writing. However, it is generally advised as a technique to create independent and harmonically rich parts.

What are the considerations for creating melodies in SATB writing?

When creating melodies in SATB writing, composers should aim for singability and recognition. Melodies should primarily consist of stepwise motion, with occasional larger leaps balanced by stepwise motion in the opposite direction. Avoidance of certain dissonant intervals and adherence to voice leading principles are also important considerations.

Are there specific restrictions for counterpoint in SATB writing?

Yes, counterpoint in SATB writing involves various motion types, including contrary, parallel, direct, and oblique intervals. While contrary motion is generally advised, parallel unisons, fifths, and octaves are typically avoided due to their potential for unwanted harmonic effects.

What are tendency tones in SATB writing?

Tendency tones are specific scale degrees (such as 2, 4, 6, and 7) that have a tendency to resolve in specific directions. Composers should consider these tendencies when writing melodies to achieve smooth voice leading and harmonic progression.

How should harmonic progressions be approached in SATB writing?

Harmonic progressions in SATB writing should follow standard interval progressions to create pleasing and balanced compositions. However, certain progressions, such as parallel unisons, fifths, and octaves, should be avoided.

Why should consecutive fifths be avoided in SATB writing?

Consecutive fifths are generally considered undesirable in SATB writing because they can result in a loss of independence and clarity between voices. Some instructors may advise avoiding consecutive fifths by contrary motion as they are effectively equivalent to parallel fifths with an octave displacement.

What is the goal of contrary motion in SATB writing?

The goal of using contrary motion in SATB writing is to create independent and harmonically rich parts. Contrary motion helps to enhance the overall texture and balance of the composition by providing melodic and harmonic contrast between the Soprano and Bass voices.