# Switching between open and closed position in mid-melody?



## Gargamel

Usually when composing a song, all of my melody is in open voicing, or closed voicing, depending on how the melody aligns with the chords. (Ie. the entire chorus may be in open voicing, and the entire verse may be in closed position.) But sometimes I can't make a cadence without switching from open voicing to closed voicing in the very end. What are other situations/examples where you need to make this switch?


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## EdwardBast

Could you please clarify what you're asking?: 

What instrument(s) are playing the chords? 

Why is changing the voicing an issue? 

Is there any way you can give an example of where this issue comes up at a cadence?


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## Gargamel

EdwardBast said:


> Could you please clarify what you're asking?:
> 
> What instrument(s) are playing the chords?
> 
> Why is changing the voicing an issue?
> 
> Is there any way you can give an example of where this issue comes up at a cadence?


I'm just curious if switching from open to closed position or vice versa is something composers generally do _in the middle of a _subject/melody. I should probably grab some theory books but that might take some browsing about, if you don't know where to look. (Music is just a little hobby of mine.)

But ok then, let's talk about me. My instrument is mainly piano. Here's a little song I composed. I think it sounds good, but on paper the final two bars look like a mess, where I had to squeeze in the 7th chords and resorted to switching back-and-forth between open voicing and closed voicing to get the sound I wanted. (I'm sure this is certainly not proper four-part voicing.)









Sounds like this:
https://easyupload.io/e9hig7


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## EdwardBast

I should have asked one more question above: Are you working to gain proficiency in classical (in the broad sense, not a specific era) harmony and part writing? If so, I would answer your question about changing voicings by saying that changing from open to closed voicings (among other strategies) can be helpful in assuring that the voices move independently. Independent motion among the various lines is a primary value in classical voice-leading. With independence of voices in mind: in mm. 2, 6, and the last half of 4, all your voices are moving in parallel motion. In mm. 2 and 6 there are really only two voices because the alto doubles the tenor at the octave, and the soprano doubles the bass at two octaves. These passages sound smooth and harmonious, of course, because there are only consonant intervals. 

Regarding the 7th chords. Both times you use a dominant 7th chord (first beat of m. 4 and the last two beats of m. 8), the 7ths don't resolve by step, as they should in this style, but rather leap. You should work on the resolution of 7th chords.


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## Gargamel

EdwardBast said:


> I should have asked one more question above: Are you working to gain proficiency in classical (in the broad sense, not a specific era) harmony and part writing? If so, I would answer your question about changing voicings by saying that changing from open to closed voicings (among other strategies) can be helpful in assuring that the voices move independently...


Yeah, I originally made several attempts to resolve the 7ths by step, and failed. I have some vague idea of how it's done, so I'm gonna try again soon. In response to your first question, yes, I'm picking up stuff about harmony and part writing as I go along. I think it's a must, whether you're composing classical music, or working with short popular tunes, diatonic, as I am. (Frequently I just play them on guitar, in the way which is the most accessible way on the fingers, instead of being conscious of inversions or drop voicings.)


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## Gargamel

EdwardBast said:


> I should have asked one more question above: Are you working to gain proficiency in classical (in the broad sense, not a specific era) harmony and part writing? If so, I would answer your question about changing voicings by saying that changing from open to closed voicings (among other strategies) can be helpful in assuring that the voices move independently. Independent motion among the various lines is a primary value in classical voice-leading. With independence of voices in mind: in mm. 2, 6, and the last half of 4, all your voices are moving in parallel motion. In mm. 2 and 6 there are really only two voices because the alto doubles the tenor at the octave, and the soprano doubles the bass at two octaves. These passages sound smooth and harmonious, of course, because there are only consonant intervals.
> 
> Regarding the 7th chords. Both times you use a dominant 7th chord (first beat of m. 4 and the last two beats of m. 8), the 7ths don't resolve by step, as they should in this style, but rather leap. You should work on the resolution of 7th chords.


Here's a new version I made. This time I gave more thought to the independency of voices, instead of thinking in terms of open/closed voicing. (I think it's convention here to use 8va.) One reason why I chose this melody as an example was because of its great contrast, from lightness to depth, between the beginning and the end. So I won't get away with being lazy, as in most of my melodies 









For listening:
https://easyupload.io/0ulc4y


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## Gargamel

sctraffic2 said:


> Thanks for your precious post.


Eh, I hoped people would understand art.


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