Doubling thirds in major chords taboo?

[FrankHudson]

As to the doubling a 3rd on guitar, depends on how you strum or pick it how it will sound. It is a hard sustained six string strum or arpeggiated with picking for example.

As to never omitting a 3rd. Ha Ha! I do it all the time, even in string arrangements. Arrest me!

[JimCA]

Originally Posted by JimCA

... But why isn't this part of guitar lore?

OK, now I get it. Guitar players don't need no stinkin' rules!

Thanks everybody.

[guitarama]

Doug Young is right, it's more of a classical composition thing for piano or string quartet. When writing for larger groups like a marching band or orchestra honestly I don't see how someone could avoid doubling, or even tripling the thirds.

Sometimes on guitar, I will consciously block out an extra third just to hear a slightly different sound, imo it makes the chord less busy and more open.

[Hotspur]

I wonder if there's something going on here with stretch tuning on a piano, the fact that the thirds are a little bit off in equal temperament, combined with the overtones associated with thirds.

The major third is 13 cents off in equal temperament. Stretch tuning would, I think, accentuate that if you added another third higher up. And then you've got the third overtone of the third, which is a G#, which one could imagine causing some problems.

[JimCA]

Originally Posted by Hotspur

I wonder if there's something going on here with stretch tuning on a piano, the fact that the thirds are a little bit off in equal temperament, combined with the overtones associated with thirds.

The major third is 13 cents off in equal temperament. Stretch tuning would, I think, accentuate that if you added another third higher up. And then you've got the third overtone of the third, which is a G#, which one could imagine causing some problems.

OP here. Sounds plausible. To be fair to the author of the book, she suggested trying it for yourself to hear the difference. I figured guitar and piano, each a stringed instrument, effect should be similar.

My interest is in harmonizing a melody (the subject of the book) and to me open C and G chords on guitar (doubled thirds) don't sound as good as other voicings for that.

[Cushag]

The doubled thirds rule applies mostly to four part classical (voice leading) harmony. The 'rule' is based on composers' experience - that is the chord sound weak. When writing five parts and above the third will be doubled by necessity in most cases. Classical writers double thirds when the part-writing demands it or when expedient or when the progress of the material leaves no choice.
Thank my 'classical' cousin for the reply.

[Nymuso]

I have said this for decades and for decades have gotten arguments from "schooled" players, but is nevertheless a truth I hold to be self evident: If it sounds right, it is right.