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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.
Harmonic Dissonance I: The Diminished Triad. Key Points. Here we learn how to work with a harmonic dissonance in a chord, starting with the diminished fifth as part of the leading tone diminished triad. Harmonic Dissonance: A chord tone which forms a dissonant harmonic interval in relationship to the root of the chord.
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.
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!
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.
Suspensions should be dissonant notes. The interval between the bass and the suspended note can be a 4 th, 7 th or 9 th. If a non-chord note is used which is not dissonant, such as a 6 th, the effect is not the same. In this example, the D has been held over into a chord of F major. D is a 6 th above the bass note F.
In most music a dissonance will resolve; it will be followed by a consonant chord that it naturally leads to, for example a G seventh chord resolves to a C major chord, and a D suspended fourth resolves to a D major chord.
