Open voicing

When the toe hangs, the start line leans toward the Cathedral.

Sioux Falls wind coming off the Big Sioux lifts a hanging toe. The heel digs a trench. The ball starts left and does not come back, even when the player swears the face was square to Phillips.

Helga calls this an open chord because the interval between heel and toe is wide, like a first-inversion triad with the third in the bass. Flattening the lie closes that interval. Uprighting it would make the trench worse.

Players who stand tall on frozen banks often walk in with open voicing they have been blaming on a fade. We do not teach a fade. We write whether the toe is even invited to the turf.

If only the scoring irons are open, we do not touch the long irons as a matching courtesy. Matching is a choir idea. Contact is a solo.