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?










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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?










    share|improve this question







    New contributor




    Stefanos is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
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      down vote

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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?










      share|improve this question







      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






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      asked 2 hours ago









      Stefanos

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          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.






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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.)






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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.






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                3 Answers
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                active

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                3 Answers
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                active

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                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.






                share|improve this answer
























                  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.






                  share|improve this answer






















                    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.






                    share|improve this answer












                    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.







                    share|improve this answer












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                    answered 1 hour ago









                    Dekkadeci

                    3,1082916




                    3,1082916




















                        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.)






                        share|improve this answer
























                          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.)






                          share|improve this answer






















                            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.)






                            share|improve this answer












                            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.)







                            share|improve this answer












                            share|improve this answer



                            share|improve this answer










                            answered 1 hour ago









                            ttw

                            7,374829




                            7,374829




















                                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.






                                share|improve this answer
























                                  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.






                                  share|improve this answer






















                                    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.






                                    share|improve this answer












                                    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.







                                    share|improve this answer












                                    share|improve this answer



                                    share|improve this answer










                                    answered 33 mins ago









                                    Richard

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