Part of our guide to arranging a song for any instrument.
Arranging a song for choir means turning it into four singable parts, one for each section of voices, with the words set cleanly underneath. The classic layout is SATB: Soprano, Alto, Tenor, and Bass, the four standard choral voices. The craft is voicing the harmony into those four lines so every part stays in a comfortable range, moves smoothly, and has room to breathe, then laying the lyrics under the notes so singers know exactly which syllable falls where. Here is how to arrange a song for an SATB choir, starting from the actual notes.
The four voices and their ranges
SATB stands for Soprano, Alto, Tenor, and Bass, the four standard choral voices, and each has a range you write within. Approximate comfortable ranges are: Soprano about C4 to A5, Alto about G3 to D5, Tenor about C3 to A4, and Bass about E2 to C4. One detail trips up newcomers: the tenor part is written in treble clef but sounds an octave lower than written, which is usually shown with a small 8 under the clef. Keeping each part inside these ranges, and ideally in the middle of them rather than at the edges, is the first thing that makes an arrangement singable. The broader picture of laying parts onto staves is in our guide to arranging a song for any instrument.
Setting the melody and harmony
The melody usually goes to the sopranos, with the alto, tenor, and bass supplying harmony beneath it. That keeps the tune on top where it carries, while the lower three voices fill out the chords. The melody does not have to stay put, though, moving it to the tenor or alto for a verse adds variety and rests the sopranos, and a well-placed handoff can be the most memorable moment in an arrangement. Choosing which voice holds the tune and which notes the others sing is a kind of lead-sheet thinking applied to four parts, the same instinct described in our explainer on what a lead sheet is. If a particular vocal line is the thing you want to capture first, our guide to turning a vocal melody into sheet music covers getting that line down.
Voice leading and the words
Good choral writing is as much about how the parts move as which notes they hit. Use smooth voice leading: let each part move by small steps where possible rather than leaping around, which is easier to sing and sounds more connected. Keep each part in a comfortable tessitura so no section is straining for a whole phrase, and leave room to breathe between phrases. Then set the lyrics with clear text underlay, lining up one syllable under its note so a singer can see exactly which syllable lands on which beat. These habits are about making the part easy to read and sing, which is the same goal as our guide to simplifying sheet music. If a part runs too high or low for your singers, that is a signal to transpose, covered in transposing a song to fit your voice.
From a recording to a choral score
Rather than transcribe the song by ear before you can even begin arranging, upload the recording to Songscription and let it transcribe the audio into notation you can edit. That gives you the melody and harmony as a starting point. From there you voice the harmony into the four parts, place each in its range, smooth the voice leading, and add the words underneath. Pick a key that keeps all four parts singable, transposing if any voice runs too high or low, and export the score for your singers. Starting from real notes rather than a guess means the harmony you are voicing is the song's own.
Turn a recording into a choral score
Upload a recording and get the melody and harmony from the audio, then voice it into soprano, alto, tenor, and bass and add the words. The free tier is enough to transcribe your first song.
Frequently Asked Questions
How do I arrange a song for choir?
Start from the melody and harmony of the song, then voice the harmony into four singable parts: soprano, alto, tenor, and bass. The melody usually goes to the sopranos, with the alto, tenor, and bass supplying harmony beneath it. Keep each part in a comfortable range, use smooth voice leading so parts move by small steps, leave room to breathe, and set the lyrics so one syllable lines up clearly under its note. Pick a key that keeps all four parts singable. Starting from an editable transcription gives you the notes to voice and the score to add the words to.
What are the SATB voice ranges?
SATB stands for Soprano, Alto, Tenor, and Bass, the four standard choral voices. Approximate comfortable ranges are: Soprano about C4 to A5, Alto about G3 to D5, Tenor about C3 to A4, and Bass about E2 to C4. The tenor part is written in treble clef but sounds an octave lower than written, often shown with an 8 under the clef.
How do I handle the lyrics in a choral arrangement?
Set the words with clear text underlay: line up one syllable under its note so singers can see exactly which syllable falls on which beat. Combined with smooth voice leading, comfortable tessitura, and room to breathe, clear text underlay is what makes a choral part easy to sing and to read.
What key should a choral arrangement be in?
Pick a key that keeps all four parts singable, so no part is pushed above or below a comfortable range. If a part runs too high or too low, transpose the whole arrangement until every voice sits in a workable tessitura. The right key serves the singers, not the original recording.
The fastest way to start is on a song you want your choir to sing. Upload a recording with Songscription and arrange it for choir from the audio.
