AP Music Theory Flashcards: SATB Voice Leading
Written by AP Content Team, Verified for 2026 AP Exams, Last updated: May 2026
Review key ideas with interactive flashcards. This set includes 10 cards to help you master important concepts.
What is the spacing rule for the distance between the bass and tenor voices?
The distance between the bass and its nearest neighboring part (the tenor) is allowed to be more than an octave.
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What is the spacing rule for the distance between the bass and tenor voices?
The distance between the bass and its nearest neighboring part (the tenor) is allowed to be more than an octave.
What are the three primary methods for studying and applying 18th-century part-writing procedures?
The three primary methods are score analysis, error detection, and writing exercises.
What is the maximum spacing allowed between adjacent upper parts (Soprano-Alto and Alto-Tenor)?
The distance between adjacent upper parts may be as far apart as an octave, but no more.
What is "doubling" in SATB voice leading?
Doubling occurs when the number of voices used is greater than what is required to represent a chord, resulting in a chord tone being repeated in another voice.
What is the key difference in spacing rules between the upper three voices (SAT) and the bass voice?
The adjacent upper voices must remain within an octave of each other, whereas the bass voice can be more than an octave away from the tenor.
An SATB chord has the Soprano on C5 and the Alto on A3. Does this violate 18th-century spacing rules?
Yes, this is a spacing error because the distance between the adjacent upper voices (Soprano and Alto) is greater than an octave.
An SATB chord has the Tenor on G3 and the Bass on C2. Is this spacing acceptable?
Yes, this spacing is acceptable because the interval between the bass and tenor is allowed to be larger than an octave.
What is the general convention for which note to double in a triad?
The standard convention is to double the root of a triad whenever the voice leading allows for it.
In a four-part setting of a D major triad (D-F#-A), which note is the most conventional to double?
Following 18th-century conventions, the root of the triad, D, would be the most conventional note to double.
What is the absolute rule regarding which type of tones to double?
In all situations, you should always double non-tendency tones.