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Doubling the third of a root position major chord in four-part harmony
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In a manual for four-part harmony that I am reading, it is suggested to avoid doubling the 3rd of a root position major chord, as it sounds harsh. On a minor root position chord however, it is acceptable.
Why is it better to double the 3rd of minor chords and less good in major chords? The overtone series has a tone very close to the major 3rd, so shouldnt it be the other way around?
harmony satb
asked 2 hours ago
Stefanos
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In a manual for four-part harmony that I am reading, it is suggested to avoid doubling the 3rd of a root position major chord, as it sounds harsh. On a minor root position chord however, it is acceptable.
Why is it better to double the 3rd of minor chords and less good in major chords? The overtone series has a tone very close to the major 3rd, so shouldnt it be the other way around?
harmony satb
asked 2 hours ago
Stefanos
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Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
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up vote
1
down vote
favorite
up vote
1
down vote
favorite
In a manual for four-part harmony that I am reading, it is suggested to avoid doubling the 3rd of a root position major chord, as it sounds harsh. On a minor root position chord however, it is acceptable.
Why is it better to double the 3rd of minor chords and less good in major chords? The overtone series has a tone very close to the major 3rd, so shouldnt it be the other way around?
harmony satb
asked 2 hours ago
Stefanos
61
New contributor
Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
In a manual for four-part harmony that I am reading, it is suggested to avoid doubling the 3rd of a root position major chord, as it sounds harsh. On a minor root position chord however, it is acceptable.
Why is it better to double the 3rd of minor chords and less good in major chords? The overtone series has a tone very close to the major 3rd, so shouldnt it be the other way around?
harmony satb
harmony satb
asked 2 hours ago
Stefanos
61
New contributor
Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 2 hours ago
Stefanos
61
New contributor
Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 2 hours ago
Stefanos
61
New contributor
Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 2 hours ago
Stefanos
61
asked 2 hours ago
Stefanos
61
61
New contributor
Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
add a comment |Â
add a comment |Â
3 Answers
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One reason why may be to avoid parallel octaves. Dominant chords are always major chords (or at least based on them), and doubling the third of a dominant chord means doubling the leading tone. In common practice period voice leading, the leading tone should resolve to the tonic, so you get parallel octaves right there.
The common story I've read is that parallel octaves should be avoided because they make contrapuntal voices sound less independent from each other. In practice, due to how rare they are, they also stick out to my ears in polyphonic writing in a rather raw way.
answered 1 hour ago
Dekkadeci
3,1082916
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As mentioned in Dekkadeci's answer, doubling the third can lead to using parallel octaves (neither of which sound bad) and it can sound like a voice dropped out. This is a problem with the dominant chord; the third is note 7 of the scale and it strongly leads to the tonic. (Parallel octaves or fifths can sound "thin" in harmonic texture.)
Another problem is that a major with a double third sounds like a Neapolitan Sixth (in perhaps another key). It's a special sound that listeners are used to hearing in particular situations. Neither of these is a risk with minor chord third doubling.
Doubling the third of a minor chord (in a major key) doubles the 1, 4, or 5 note. This strengthens the sense of key. (I'm not sure this is all that important though.)
answered 1 hour ago
ttw
7,374829
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Perhaps this is a non-answer, but I wanted to state that there's very little musical reason, in my opinion, for that rule; it really sounds like a rule that will prevent you from making other errors (like doubling the leading tone, which is the third of a major triad).
Furthermore, I wanted to suggest that you treat this as a very bendable rule that can be broken. Indeed, when you get to V–VI deceptive cadences in a minor key, you must double the third of the root-position VI chord (!), because it's better than doubling the root (which would be a result of parallel perfect octaves or an augmented second) or the fifth (which would result in parallel perfect fifths).
In other words, there are situations where this rule must be broken, so (in my opinion), don't worry too much about breaking it.
answered 33 mins ago
Richard
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3 Answers
3
active
oldest
votes
3 Answers
3
active
oldest
votes
active
oldest
votes
active
oldest
votes
up vote
1
down vote
One reason why may be to avoid parallel octaves. Dominant chords are always major chords (or at least based on them), and doubling the third of a dominant chord means doubling the leading tone. In common practice period voice leading, the leading tone should resolve to the tonic, so you get parallel octaves right there.
The common story I've read is that parallel octaves should be avoided because they make contrapuntal voices sound less independent from each other. In practice, due to how rare they are, they also stick out to my ears in polyphonic writing in a rather raw way.
answered 1 hour ago
Dekkadeci
3,1082916
add a comment |Â
up vote
1
down vote
One reason why may be to avoid parallel octaves. Dominant chords are always major chords (or at least based on them), and doubling the third of a dominant chord means doubling the leading tone. In common practice period voice leading, the leading tone should resolve to the tonic, so you get parallel octaves right there.
The common story I've read is that parallel octaves should be avoided because they make contrapuntal voices sound less independent from each other. In practice, due to how rare they are, they also stick out to my ears in polyphonic writing in a rather raw way.
answered 1 hour ago
Dekkadeci
3,1082916
add a comment |Â
up vote
1
down vote
up vote
1
down vote
One reason why may be to avoid parallel octaves. Dominant chords are always major chords (or at least based on them), and doubling the third of a dominant chord means doubling the leading tone. In common practice period voice leading, the leading tone should resolve to the tonic, so you get parallel octaves right there.
The common story I've read is that parallel octaves should be avoided because they make contrapuntal voices sound less independent from each other. In practice, due to how rare they are, they also stick out to my ears in polyphonic writing in a rather raw way.
answered 1 hour ago
Dekkadeci
3,1082916
One reason why may be to avoid parallel octaves. Dominant chords are always major chords (or at least based on them), and doubling the third of a dominant chord means doubling the leading tone. In common practice period voice leading, the leading tone should resolve to the tonic, so you get parallel octaves right there.
The common story I've read is that parallel octaves should be avoided because they make contrapuntal voices sound less independent from each other. In practice, due to how rare they are, they also stick out to my ears in polyphonic writing in a rather raw way.
answered 1 hour ago
Dekkadeci
3,1082916
answered 1 hour ago
Dekkadeci
3,1082916
answered 1 hour ago
Dekkadeci
3,1082916
answered 1 hour ago
Dekkadeci
3,1082916
3,1082916
add a comment |Â
add a comment |Â
up vote
1
down vote
As mentioned in Dekkadeci's answer, doubling the third can lead to using parallel octaves (neither of which sound bad) and it can sound like a voice dropped out. This is a problem with the dominant chord; the third is note 7 of the scale and it strongly leads to the tonic. (Parallel octaves or fifths can sound "thin" in harmonic texture.)
Another problem is that a major with a double third sounds like a Neapolitan Sixth (in perhaps another key). It's a special sound that listeners are used to hearing in particular situations. Neither of these is a risk with minor chord third doubling.
Doubling the third of a minor chord (in a major key) doubles the 1, 4, or 5 note. This strengthens the sense of key. (I'm not sure this is all that important though.)
answered 1 hour ago
ttw
7,374829
add a comment |Â
up vote
1
down vote
As mentioned in Dekkadeci's answer, doubling the third can lead to using parallel octaves (neither of which sound bad) and it can sound like a voice dropped out. This is a problem with the dominant chord; the third is note 7 of the scale and it strongly leads to the tonic. (Parallel octaves or fifths can sound "thin" in harmonic texture.)
Another problem is that a major with a double third sounds like a Neapolitan Sixth (in perhaps another key). It's a special sound that listeners are used to hearing in particular situations. Neither of these is a risk with minor chord third doubling.
Doubling the third of a minor chord (in a major key) doubles the 1, 4, or 5 note. This strengthens the sense of key. (I'm not sure this is all that important though.)
answered 1 hour ago
ttw
7,374829
add a comment |Â
up vote
1
down vote
up vote
1
down vote
As mentioned in Dekkadeci's answer, doubling the third can lead to using parallel octaves (neither of which sound bad) and it can sound like a voice dropped out. This is a problem with the dominant chord; the third is note 7 of the scale and it strongly leads to the tonic. (Parallel octaves or fifths can sound "thin" in harmonic texture.)
Another problem is that a major with a double third sounds like a Neapolitan Sixth (in perhaps another key). It's a special sound that listeners are used to hearing in particular situations. Neither of these is a risk with minor chord third doubling.
Doubling the third of a minor chord (in a major key) doubles the 1, 4, or 5 note. This strengthens the sense of key. (I'm not sure this is all that important though.)
answered 1 hour ago
ttw
7,374829
As mentioned in Dekkadeci's answer, doubling the third can lead to using parallel octaves (neither of which sound bad) and it can sound like a voice dropped out. This is a problem with the dominant chord; the third is note 7 of the scale and it strongly leads to the tonic. (Parallel octaves or fifths can sound "thin" in harmonic texture.)
Another problem is that a major with a double third sounds like a Neapolitan Sixth (in perhaps another key). It's a special sound that listeners are used to hearing in particular situations. Neither of these is a risk with minor chord third doubling.
Doubling the third of a minor chord (in a major key) doubles the 1, 4, or 5 note. This strengthens the sense of key. (I'm not sure this is all that important though.)
answered 1 hour ago
ttw
7,374829
answered 1 hour ago
ttw
7,374829
answered 1 hour ago
ttw
7,374829
answered 1 hour ago
ttw
7,374829
7,374829
add a comment |Â
add a comment |Â
up vote
1
down vote
Perhaps this is a non-answer, but I wanted to state that there's very little musical reason, in my opinion, for that rule; it really sounds like a rule that will prevent you from making other errors (like doubling the leading tone, which is the third of a major triad).
Furthermore, I wanted to suggest that you treat this as a very bendable rule that can be broken. Indeed, when you get to V–VI deceptive cadences in a minor key, you must double the third of the root-position VI chord (!), because it's better than doubling the root (which would be a result of parallel perfect octaves or an augmented second) or the fifth (which would result in parallel perfect fifths).
In other words, there are situations where this rule must be broken, so (in my opinion), don't worry too much about breaking it.
answered 33 mins ago
Richard
31.9k671135
add a comment |Â
up vote
1
down vote
Perhaps this is a non-answer, but I wanted to state that there's very little musical reason, in my opinion, for that rule; it really sounds like a rule that will prevent you from making other errors (like doubling the leading tone, which is the third of a major triad).
Furthermore, I wanted to suggest that you treat this as a very bendable rule that can be broken. Indeed, when you get to V–VI deceptive cadences in a minor key, you must double the third of the root-position VI chord (!), because it's better than doubling the root (which would be a result of parallel perfect octaves or an augmented second) or the fifth (which would result in parallel perfect fifths).
In other words, there are situations where this rule must be broken, so (in my opinion), don't worry too much about breaking it.
answered 33 mins ago
Richard
31.9k671135
add a comment |Â
up vote
1
down vote
up vote
1
down vote
Perhaps this is a non-answer, but I wanted to state that there's very little musical reason, in my opinion, for that rule; it really sounds like a rule that will prevent you from making other errors (like doubling the leading tone, which is the third of a major triad).
Furthermore, I wanted to suggest that you treat this as a very bendable rule that can be broken. Indeed, when you get to V–VI deceptive cadences in a minor key, you must double the third of the root-position VI chord (!), because it's better than doubling the root (which would be a result of parallel perfect octaves or an augmented second) or the fifth (which would result in parallel perfect fifths).
In other words, there are situations where this rule must be broken, so (in my opinion), don't worry too much about breaking it.
answered 33 mins ago
Richard
31.9k671135
Perhaps this is a non-answer, but I wanted to state that there's very little musical reason, in my opinion, for that rule; it really sounds like a rule that will prevent you from making other errors (like doubling the leading tone, which is the third of a major triad).
Furthermore, I wanted to suggest that you treat this as a very bendable rule that can be broken. Indeed, when you get to V–VI deceptive cadences in a minor key, you must double the third of the root-position VI chord (!), because it's better than doubling the root (which would be a result of parallel perfect octaves or an augmented second) or the fifth (which would result in parallel perfect fifths).
In other words, there are situations where this rule must be broken, so (in my opinion), don't worry too much about breaking it.
answered 33 mins ago
Richard
31.9k671135
answered 33 mins ago
Richard
31.9k671135
answered 33 mins ago
Richard
31.9k671135
answered 33 mins ago
Richard
31.9k671135
31.9k671135
add a comment |Â
add a comment |Â
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