ABSTRACT
Many theory primers contend that doubling the third of a chord is a last resort, while some prohibit it altogether. Yet a perusal of tonal compositions reveals the frequent occurrence of doubled thirds, even in situations where they are easily avoided. Franz Schubert’s song plainly demonstrates that doubling chordal thirds does not produce an automatic compositional blunder, even in the most exposed places, including the first harmony of a composition. Composers treat most doubling rules flexibly, certain doublings are usually avoided, most notably the doubling of tendency tones such as leading tones and chordal sevenths. Some incomplete chords are written purposely to sound unusual and pronounced. These divergences from normative procedures should not be taken as instances of reckless “rule-breaking,” but instead as conscious departures from conventionality in order to devise vivid musical effects. Chord spacing can enhance voice leading, augment textural color, and convey text painting. The beginning of Beethoven’s Third Symphony demonstrates another facet of chord spacing.
