Eight-Part Vocal Writing: Methods

There are three major methods in which eight-part writing can be used:

Eight-Part Homophony
The first of these is homophonic eight-part writing, or that in which one voice sings a melody, and the remaining seven voices add accompaniment and support. It functions identically to four-part homophonic writing. However, the harmonies in this case are much more full, and can provide very strong and complex support for the melody line. In four-part voice writing, the goal is to maintain the individuality of the voices. This usually holds true even in homophonic settings.

In eight-part homophony, the goal is not necessarily to focus on voice individuality. The eight voices should function as one chordal bed, moving similarly rhythmically, on which the melody line rests, thus my allowance of limited parallel octaves. In addition to making the writing easier and offering more options, it also adds unity to the voices, though, as I mentioned in my theory post, it should be avoided unless necessary. Parallel fifths, as mentioned in my previous post are not permitted. This type of parallel motion is too obvious, and results in a sound I would describe as "grinding."

Voices should move the smallest distance possible between chords, adhering to Basic Procedure as much as possible. Smooth movement from one chord to the next is the goal in this type of eight-part writing.

The Double Chorus
The second is the double chorus method. This method is the most common, and can be done in a number of ways. The most common is to split the eight-part choir into two separate choirs of SATB form. However, I enjoy using the other method even more. That is, two separate choirs of SSAA and TTBB. Whichever arrangement of voices is chosen, the two choirs can be used in a number of very effective ways.

One of the most effective is the "call and response" method, where one choir will sing a musical idea, usually ending open-ended, and the other choir will respond with another musical idea that completes the first. Another method is to entirely split the two and use them in conjunction with full eight-part homophonic writing. An example of this would be an opening section in eight parts, followed by the first choir singing an extended musical idea alone, and then the other choir singing another extended musical idea alone.

Throughout these separate-chorus excursions, the other choir can layer in either above or below (depending on how the choirs are arranged) the choir that is currently singing to add an eight-part texture. In this method, I strongly encourage frequent transitions between single chorus and double chorus sections, with the choirs trading off with and overlapping one another (in terms of singing at the same time, not in terms of singing the same notes).

Eight-Part Counterpoint
The third method is the eight-part contrapuntal method. This is the most difficult, but it is the consummation of all eight-part writing. This works identically to four-part counterpoint, but with obvious added complexity. All of the rules of four-part writing apply; none of my eight-part exceptions should be permitted in this type of eight-part writing. There are two methods which can be exchanged or used separately to achieve a desire result.

The first method is the imitative double chorus method, in which four voices hold a chord while the other four move contrapuntally. However, as I said, this is only imitative of a double chorus, so the four voices that move should exchange with the four that hold, and these groups should not contain the same four voices for an extended period of time. This method should then expand into (or start with) other combinations as well, such as three voices against five, five against three, two against six, six against two, and transition fluidly through all of the combinations.

The second method is full-blown eight-part imitative counterpoint. In this method, one voice will begin, and the others will follow imitatively and contrapuntally, just as in four-part writing. This is where one is to maintain the maximum amount of voice individuality as possible. The listener should be able to discern (as best they can) eight separate, moving parts. Contrary motion will be best put to use in this method. Once again, all of the rules of four-part writing apply; without my exceptions.

Out of all the methods, this one will truly offer the greatest potential of any one eight-part writing method.

Conclusion
These are my own conclusions taken from my own eight-part writing, and that of other eight-part writing from other composers that I have experienced. Therefore, they are not perfect. There are more ways to analyze eight-part writing in more detail. These are also not the only ways and rules of theory to write in eight parts. I simply offer my experience and intuition. Put these to good use, and please post your suggestions. I am very interested to see what others have found while attempting this mammoth form of voice leading.