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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.
The key is C major and the scale degree is pitch class F. Notice that the F, the third chord tone in the D minor chord ties over in a similar way as a suspension in fourth species counterpoint, into the dissonant F, the fifth chord tone of the B diminished triad.
For example, the diminished triad built on B, written as B o, has pitches B-D-F: The chord can be represented by the integer notation {0, 3, 6}. In the common practice period, the diminished triad is considered dissonant because of the diminished fifth (or tritone).
- Harmony: Chords and How to Build Them Overview. Professor Wright explains the way harmony works in Western music. Throughout the lecture, he discusses the ways in which triads are formed out of scales, the ways that some of the most common harmonic progressions work, and the nature of modulation.
Strategies for Avoiding Dissonance: Chord Substitutions, Changing the Rhythm, and Changing the Chord Progression. Sometimes the combination of a note of the melody and a note within a harmonic chord will cause dissonance, also known as “that assy sound." The dissonance is caused by two or more tones that “clash.”.
The consonance or dissonance of a chord is related, but it's not a very strong relationship in many cases. The best example I can think of is sometimes a very dissonant, tense chord structure resolves to a target chord. For instance C#dim7 may resolve to Dmin7, or Eb7#11 may resolve to Dmaj7.
Consonance and dissonance refer to intervals and chords. The interval between two notes is the number of half steps between them, and all intervals have a name that musicians commonly use, like major third (which is 4 half steps), perfect fifth (7 half steps), or octave.
