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  1. Whether you choose a sus2 (ex: C-D-G) or a sus4 (ex: C-F-G) will depend on the scale degree of the chord you want to change (not all scale degrees will “hold” both sus chords – see below) as well as the melody note that is causing the dissonance.

  2. Dissonant Chords on Guitar. Notes that are a semitone or tone away from each other (or the octave) are usually notes that create the kind of dissonance that becomes pleasing in chords. Let’s start by exploring the sound of a semitone (Minor 2nd), so you can hear the clash!

  3. What happens is this, the A minor seven chord has the notes, A, C, E, G, the D seven chord, which is the next chord in the circle of fifths, while we're still in the key of G as the notes D, F sharp, A and C.

  4. In this chapter we will learn how to both incorporate and handle a dissonance in a chord, specifically the dissonance of the diminished fifth found between the root and fifth chord tones of the diminished triad which is built on scale degree in the major diatonic mode.

  5. The easiest dissonant "chord" would be something like a V7 (let's say G7 in Cmajor) which uses the 7th interval as the dissonant, leading tone to guide the ear back to I. Essentially, you are looking at VII and II as being your predominantly dissonant intervals, while III and VI will be harmonic.

  6. While the guy in the analysis video says there’s a G note in one of the chords, the overall SOUND of the recording emphasizes the Gb note. You can try any C chord over this intro, and will find that Cm7b5 is the one that works over this intro.

  7. If the chord contains only consonant intervals, it will sound consonant. But if it contains even one dissonant interval, the whole chord will sound dissonant (Table 36 below; Figure 41 below).

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