On The Origin of Dissonant ChordsIs there a known point in history where dissonance became acceptable?Understanding the elements of harmony in “honky-tonk” or ragtime style pianoHow do you write successive, non-functional chord progressions?Does the bass always have to harmonise with the lead?Find the origin of folkDo capable harmony singers sing in just intonation or tempered tuning?Gregorian modes in Renaissance music (with Cabezón's 'Tiento del Cuarto Tono' as an example)Origin of the BackbeatTonal harmony: 18th century counterpoint vs. Accessible contemporary harmony and compositionHow can I tell if I have good relative pitch or if I am just familiar with scales
What are the steps to solving this definite integral?
On The Origin of Dissonant Chords
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On The Origin of Dissonant Chords
Is there a known point in history where dissonance became acceptable?Understanding the elements of harmony in “honky-tonk” or ragtime style pianoHow do you write successive, non-functional chord progressions?Does the bass always have to harmonise with the lead?Find the origin of folkDo capable harmony singers sing in just intonation or tempered tuning?Gregorian modes in Renaissance music (with Cabezón's 'Tiento del Cuarto Tono' as an example)Origin of the BackbeatTonal harmony: 18th century counterpoint vs. Accessible contemporary harmony and compositionHow can I tell if I have good relative pitch or if I am just familiar with scales
Without relying upon French harmonic theory (Rameau for instance), can you explain how the emergence of “freely” used dissonant chords were justified via the principles of the preceding Stile Antico (e.g. Palestrina)?
PS: Schenker is right out.
harmony history counterpoint musicology musical-forms
asked 11 hours ago
LaprtseniaLaprtsenia
605
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add a comment |
Without relying upon French harmonic theory (Rameau for instance), can you explain how the emergence of “freely” used dissonant chords were justified via the principles of the preceding Stile Antico (e.g. Palestrina)?
PS: Schenker is right out.
harmony history counterpoint musicology musical-forms
asked 11 hours ago
LaprtseniaLaprtsenia
605
New contributor
Laprtsenia is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
4
And then the theorists decided to play a D7(♭9 ♯9 ♯11 ♭13) chord, and the Lord did grin
– user45266
7 hours ago
@user45266 - Thanks. That chord sounds like utter crap.
– Laprtsenia
38 mins ago
add a comment |
Without relying upon French harmonic theory (Rameau for instance), can you explain how the emergence of “freely” used dissonant chords were justified via the principles of the preceding Stile Antico (e.g. Palestrina)?
PS: Schenker is right out.
harmony history counterpoint musicology musical-forms
asked 11 hours ago
LaprtseniaLaprtsenia
605
New contributor
Laprtsenia is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
Without relying upon French harmonic theory (Rameau for instance), can you explain how the emergence of “freely” used dissonant chords were justified via the principles of the preceding Stile Antico (e.g. Palestrina)?
PS: Schenker is right out.
harmony history counterpoint musicology musical-forms
harmony history counterpoint musicology musical-forms
asked 11 hours ago
LaprtseniaLaprtsenia
605
New contributor
Laprtsenia is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 11 hours ago
LaprtseniaLaprtsenia
605
New contributor
Laprtsenia is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 11 hours ago
LaprtseniaLaprtsenia
605
New contributor
Laprtsenia is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 11 hours ago
LaprtseniaLaprtsenia
605
asked 11 hours ago
LaprtseniaLaprtsenia
605
605
New contributor
Laprtsenia is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
Laprtsenia is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
Laprtsenia is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
4
And then the theorists decided to play a D7(♭9 ♯9 ♯11 ♭13) chord, and the Lord did grin
– user45266
7 hours ago
@user45266 - Thanks. That chord sounds like utter crap.
– Laprtsenia
38 mins ago
add a comment |
4
And then the theorists decided to play a D7(♭9 ♯9 ♯11 ♭13) chord, and the Lord did grin
– user45266
7 hours ago
@user45266 - Thanks. That chord sounds like utter crap.
– Laprtsenia
38 mins ago
4
4
And then the theorists decided to play a D7(♭9 ♯9 ♯11 ♭13) chord, and the Lord did grin
– user45266
7 hours ago
And then the theorists decided to play a D7(♭9 ♯9 ♯11 ♭13) chord, and the Lord did grin
– user45266
7 hours ago
@user45266 - Thanks. That chord sounds like utter crap.
– Laprtsenia
38 mins ago
@user45266 - Thanks. That chord sounds like utter crap.
– Laprtsenia
38 mins ago
add a comment |
1 Answer
1
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Without checking, I would guess that chords (or tone arrangements) generally considered dissonant arose from combinations of melodic lines. The composers (or performers) who generated the music decided that a good melodic line trumped a good harmonic sound.
One sees something similar in the common practice period. Moving bass lines (like a walking bass) often "ignore" the surrounding harmony to move melodically to a scale tone. (One can play C-G-A-B-C against a C major chord without causing too much havoc.) Similarly for melodic lines.
Dissonance isn't "bad sounding" nor "antii-harmonic"; it merely signals the "desire" (or raises the expectation from previous association) of movement. Dissonance also makes the dissonant note (or note cluster) stand out and can be use to highlight a part (instead of just playing a note louder. It adds a sort of accent that is different from (though can work well with) syncopation, loudness, change of register or instrumentation, etc.
answered 10 hours ago
ttwttw
9,6871035
add a comment |
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1 Answer
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Without checking, I would guess that chords (or tone arrangements) generally considered dissonant arose from combinations of melodic lines. The composers (or performers) who generated the music decided that a good melodic line trumped a good harmonic sound.
One sees something similar in the common practice period. Moving bass lines (like a walking bass) often "ignore" the surrounding harmony to move melodically to a scale tone. (One can play C-G-A-B-C against a C major chord without causing too much havoc.) Similarly for melodic lines.
Dissonance isn't "bad sounding" nor "antii-harmonic"; it merely signals the "desire" (or raises the expectation from previous association) of movement. Dissonance also makes the dissonant note (or note cluster) stand out and can be use to highlight a part (instead of just playing a note louder. It adds a sort of accent that is different from (though can work well with) syncopation, loudness, change of register or instrumentation, etc.
answered 10 hours ago
ttwttw
9,6871035
add a comment |
Without checking, I would guess that chords (or tone arrangements) generally considered dissonant arose from combinations of melodic lines. The composers (or performers) who generated the music decided that a good melodic line trumped a good harmonic sound.
One sees something similar in the common practice period. Moving bass lines (like a walking bass) often "ignore" the surrounding harmony to move melodically to a scale tone. (One can play C-G-A-B-C against a C major chord without causing too much havoc.) Similarly for melodic lines.
Dissonance isn't "bad sounding" nor "antii-harmonic"; it merely signals the "desire" (or raises the expectation from previous association) of movement. Dissonance also makes the dissonant note (or note cluster) stand out and can be use to highlight a part (instead of just playing a note louder. It adds a sort of accent that is different from (though can work well with) syncopation, loudness, change of register or instrumentation, etc.
answered 10 hours ago
ttwttw
9,6871035
add a comment |
Without checking, I would guess that chords (or tone arrangements) generally considered dissonant arose from combinations of melodic lines. The composers (or performers) who generated the music decided that a good melodic line trumped a good harmonic sound.
One sees something similar in the common practice period. Moving bass lines (like a walking bass) often "ignore" the surrounding harmony to move melodically to a scale tone. (One can play C-G-A-B-C against a C major chord without causing too much havoc.) Similarly for melodic lines.
Dissonance isn't "bad sounding" nor "antii-harmonic"; it merely signals the "desire" (or raises the expectation from previous association) of movement. Dissonance also makes the dissonant note (or note cluster) stand out and can be use to highlight a part (instead of just playing a note louder. It adds a sort of accent that is different from (though can work well with) syncopation, loudness, change of register or instrumentation, etc.
answered 10 hours ago
ttwttw
9,6871035
Without checking, I would guess that chords (or tone arrangements) generally considered dissonant arose from combinations of melodic lines. The composers (or performers) who generated the music decided that a good melodic line trumped a good harmonic sound.
One sees something similar in the common practice period. Moving bass lines (like a walking bass) often "ignore" the surrounding harmony to move melodically to a scale tone. (One can play C-G-A-B-C against a C major chord without causing too much havoc.) Similarly for melodic lines.
Dissonance isn't "bad sounding" nor "antii-harmonic"; it merely signals the "desire" (or raises the expectation from previous association) of movement. Dissonance also makes the dissonant note (or note cluster) stand out and can be use to highlight a part (instead of just playing a note louder. It adds a sort of accent that is different from (though can work well with) syncopation, loudness, change of register or instrumentation, etc.
answered 10 hours ago
ttwttw
9,6871035
answered 10 hours ago
ttwttw
9,6871035
answered 10 hours ago
ttwttw
9,6871035
answered 10 hours ago
ttwttw
9,6871035
9,6871035
add a comment |
add a comment |
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4
And then the theorists decided to play a D7(♭9 ♯9 ♯11 ♭13) chord, and the Lord did grin
– user45266
7 hours ago
@user45266 - Thanks. That chord sounds like utter crap.
– Laprtsenia
38 mins ago