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This exploration by Emily Trentacoste delves into the concepts of dissonance and consonance in music theory. It explains how partials, critical bandwidth, and intervals affect our perception of sound. Nonmusicians often prefer major thirds and sixths, while musicians tend to favor perfect consonances such as fourths and fifths. The discussion also includes the role of tritones and their implications for jazz progressions. Overall, this piece sheds light on how the order of notes and the addition of particular intervals can significantly influence musical harmony.
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Dissonance and Resolution Emily Trentacoste Math 5
Dissonance • Partials of two notes are too close • Critical bandwidth • Dissonant = partial within bandwidth • Consonant = partial outside bandwidth
Intervals and dissonance • Nonmusicians – major thirds, major sixths • Imperfect consonance • Musicians – major fourths, major fifths • Perfect consonance • I found musicians like upper fourths and fifths, not always lower • Nonmusicians prefer major sixths, nobody likes thirds
Tritones • Tritone = augmented 4th/diminished 5th • Partials are too close • Galileo – frequencies should be proportionate • 1/√2 – not a simple ratio – complex = dissonance
Consonance by circumstance • Add minor third to bottom of tritone • Add minor third at top of tritone • More notes?
Relative dissonance • Does order of notes matter? • AbF#C, AbCF#, F#AbC, etc. • C is worst to start • “Priming chord” • Includes dissonant interval – less • Unrelated chord – more
Jazz Progression • Tritone substitution – two chords that share tritones can be substituted • ii-V-I progression – ex. Dmin7-G7-Cmaj7 • G7 Db7 (Db is tritone of G)
Summary • Adding particular notes reduces dissonance • Order in which notes played matters • What you hear before matters • Tritone can be used to create more dynamic, interesting progressions
