I've seen the terms being used in the different threads, but I don't know what they mean.

May someone please explain the basics of the concepts and show a quick example of each? (If possible to be shown basically, of course.)

Thanks a lot, I appreciate it in advance!

Wikipedia's Guide to Dissonance (http://en.wikipedia.org/wiki/Consonance_and_dissonance#Dissonance)

:) Dissonance is the opposite of consonance, so to speak. It is both bane and boon to harmony, for while it is not necessary, if used properly it can add a good flavor and tension to music which longs to resolve to a proper chord. Dissonance occurs when intervals between simultaneously-played notes are too small for comfort to the ears.

For example, though a C, F, and G sound less pleasing to the ear than a [true chord] C, E, and G, they are still bearable to listen to. It should also be noted that the F longs to descend and thus resolve the chord into a true chord. Also, intervals even closer than F to G, such as F# to G, sound utterly dreadful when sounded together. The point is, (most of the time) the farther apart the intervals (and, consequently, the semitones) the more pleasing the sound produced. (Intervals extended beyond those of a true chord delve into diminished and augmented tones and often sound atrocious to the ear; these are the few exceptions. Also, interval differences between major and minor chords are theoretically equal when considering the fact that a minor chord has a third closer to the root than the fifth, and visa versa for the major chord.) However, it should be recalled that nearly all notes deemed "passing" notes are dissonant, though they are less susceptible to being noticed due to their immediate tendency to pass into a consonance immediately after.

Dissonance is the most easily recognized in traditional Baroque resolutions as in the works of Corelli and Monteverdi.

Attached is an example. :)

What ^ said.

In the future, please use the stickied thread labelled "Music General Discussion" in the Music section, thanks!

Wikipedia's Guide to Dissonance (http://en.wikipedia.org/wiki/Consonance_and_dissonance#Dissonance)

:) Dissonance is the opposite of consonance, so to speak. It is both bane and boon to harmony, for while it is not necessary, if used properly it can add a good flavor and tension to music which longs to resolve to a proper chord. Dissonance occurs when intervals between simultaneously-played notes are too small for comfort to the ears.

For example, though a C, F, and G sound less pleasing to the ear than a [true chord] C, E, and G, they are still bearable to listen to. It should also be noted that the F longs to descend and thus resolve the chord into a true chord. Also, intervals even closer than F to G, such as F# to G, sound utterly dreadful when sounded together. The point is, (most of the time) the farther apart the intervals (and, consequently, the semitones) the more pleasing the sound produced. (Intervals extended beyond those of a true chord delve into diminished and augmented tones and often sound atrocious to the ear; these are the few exceptions. Also, interval differences between major and minor chords are theoretically equal when considering the fact that a minor chord has a third closer to the root than the fifth, and visa versa for the major chord.) However, it should be recalled that nearly all notes deemed "passing" notes are dissonant, though they are less susceptible to being noticed due to their immediate tendency to pass into a consonance immediately after.

Dissonance is the most easily recognized in traditional Baroque resolutions as in the works of Corelli and Monteverdi.

Attached is an example. :)


Dissonance and consonance are often used more informally, though, as simply a measure of how pleasent or unpleasant something sounds. Most people would probably call that suspended chord in the second measure consonant - simply because it doesn't sound like the notes really clash. This tends to make dissonance more of a subjective term these days, for better or worse.

I see your point, spc1st. :think: But it should be remembered that suspended chords, too, yearn to resolve to a more perfect consonance. When denied such a resolution, suspensions tend not to give our ears such a fuss -- part of the reason why they're used so often, though nearly all the time in conjunction with a cadence or resolution of some sort. Forgive my formal usage of the terms, but I still consider suspended chords dissonant... or at the most a sub-par consonance (although sometimes pleasing, I must admit). :) Good point!

If you want to see some very good examples in the old sense of "dissonance", consider looking into a few works by post-romanticists, such as Debussy (Or you can look in my thread, as it is heavily influenced by his work). ^_^

As a Romanticist (which is what I like to label myself as nowadays :)) I believe that dissonance should be used whenever you feel the need to. If you are trying to compose a happy song, you probably would want to steer clear of certain dissonances like say... D + G# + A, unless if you know how to use the Lydian mode effectively (I like that major mode so much that I plan to name my first daughter Lydia XD). When composing an angry or chaotic song, you should use lots of dissonance. Chromaticism is a very good Idea for such pieces, but if you prefer having a strong tonic, I would personally do Dorian with accidentals as needed (Another one of those church modes that I love so much that I would name my first son Dorian. XD).

If you are a beginner, I suggest that you experiment with dissonance at an early age so you are comfortable with it. :D

Wow, good advice! I needed this same advice. Go DEBUSSY! One of my favorite songs is Claire D'Lune. I hope someday I can compose some great piano solos such as that song, but it doesn't seem likely!