Tech Dude: Close Harmony vs Open Voicing, Which is Best?

Music213 Band and Orchestra Tech Dude

Music123 Question: I’ve read that some composer-orchestrators say it’s common to use close harmony for the upper parts of the string section, but I’ve also heard that strings in open voicing sound better. Do you have any views about which is best?

Music 123 Answer: It’s a funny thing about rules and music. It’s much like the pirate’s code—more like guidelines than actual rules. In the hallowed halls of music schools such as Juilliard, it’s not uncommon to hear quotes such as, “In harmonizing Bach chorales, always avoid parallel fifths and octaves . . . although you’ll find that sometimes Bach breaks that rule.” or, “Beethoven made the rules and then broke them.”

It’s not an issue of which is better. The composition will dictate sonority as you orchestrate. Texture is an emotional choice. Think of the emotion you’re trying to convey and harmonize accordingly. Open harmonies can sound majestic, aloof, distant, hipper, and a little bit magnificent. Close harmonies can add thickness or intensity. It also depends on the medium that you’re arranging for; what works in live performance or on paper doesn’t always work in the studio. In recordings, particularly contemporary jazz and pop—since so many instruments are fighting for the same small sonic space—open voicing tends to sound better. Less is always more in the studio.

When using open voicing, try lowering the second string part an octave or two. The widest possible space between outer voices will sound the best. You can also eliminate certain notes in the chord if they are doubled elsewhere. If you need to thicken the sound of strings in open harmony, try doubling some of the parts with woodwinds. My personal favorite is to use a combination of open and close harmony for contrast. For example, in parts where I’m using contrary motion, I start with close voicing and let the contrary movement in the outer voices build to an open chord.

Again, there are no hard and fast rules. However, certain conditions will dictate your choices, including emotional intent, whether or not you like how it sounds, problem-solving in the studio, and your personal creative choices.

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