Reference ranges
- Soprano C4–A5, Mezzo-soprano A3–F5, Alto G3–D5/E5
- Tenor C3–A4, Baritone A2–F4, Bass E2–D4
In pop harmonies you usually write in the comfortable part of the range and reserve the high zone for the climax of the song.
Techniques
- Parallel diatonic thirds and sixths above or below the lead: the most immediate solution. Check each note against the chord: the diatonic third above can land on an uncomfortable tension.
- Three-voice triad (lead on top, in the middle or on the bottom): “block” harmony typical of gospel, girl groups and K-pop.
- Close harmony: all voices within an octave (barbershop, doo-wop); compact sound.
- Open / SATB: distributed voices, wide choral sound.
- Unison and octave: power without harmony (stadium choruses).
- Vocal pads (“ooh,” “aah”) on chord tones, often on the guide tones (thirds and sevenths).
- Countermelody: a second independent line instead of a parallel harmony.
- Cluster: stacked seconds, a modern sound (contemporary choirs, K-pop intros).
Writing rules
- Each voice must be singable on its own: avoid awkward leaps, prefer common tones and stepwise motion.
- Do not double the lead's tension (if the lead sings a ninth, the harmony sits on a stable note).
- Leave the lead free: the harmonies enter on key words, not everywhere.
Example in C
Lead G4 – A4 – G4 over C – F – C.
- Third below: E4 – F4 – E4 (the chord tones).
- Low voice: C4 – C4 – C4 (common tone held, oblique motion).
Result: C E G → C F A → C E G, perfect voice leading with only one voice really moving.
Real-world example
The choral overdubs of “Bohemian Rhapsody” (Queen, 1975) and the vocal interweaving of “God Only Knows” (Beach Boys, 1966) are references for pop harmonies; “Lux Aurumque” by Eric Whitacre (2000) shows the use of clusters in a modern choir.