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4 way close writing

Basic Guidelines:

• Add notes for each lower part below the melody (using chord tones).
• Tensions should be harmonized in place of the next lowest chord tone (9-1, 13-5, sus4-3, #11 or b5-5 on maj., 11-5 on min.)
• Do not substitute 9-1 on when it is non-diatonic note.
• The b9 interval is not suggested on any chord that is not a V7.
• When a melody note anticipates a new chord, the harmony notes must anticipate also.
• Avoid 1/2 steps between the outer voices (these are not cluster voicings where that may be momentarily acceptable).
• When b9 accompanies a V7 chord symbol, use b9 in place of 1 in harmony parts.
• On dominant 7th chords, use 13 (for 5) in the lower voice when approaching a major (7th or 6th) chord.
• On dominant 7th chords, use b13 (for 5) in the lower voice when approaching a minor (7th or 6th) chord.
• When 1 is in the melody of a dominant 7th chord (b9), consider using the following special voicing (top down: 153b9). This does not contain a b7, but a dominant 7th (b9) is the only chord with b9 as an available tension so the listener will most likely hear it as a dominant functioning chord.
• Exception: do not use the "special" voicing when "e" on the bottom of the treble clef is in the lead. It will result in a low interval limit violation. Do not use tension below 3rd line "f" in bass clef
• Remember not to use 7 or b7 below 3rd space "e" in bass clef for the same reason (low interval limits).
• Remember not to use 3 below 3rd line "d" in bass clef for the same reason (low interval limits).
• Repeated notes in the lower voices are only an issue in an 8th note passage or at a chord change.
• Generally, use this type of voicing to contain the parts within an octave unless the melody is high.
• Listen to the masters!