Consonance is a term that describes musical sounds that, by some sort of conventional wisdom, go well together.
So, whoever the powers that be, were, or are (and that august and mysterious body changes composition over time), make decisions in theory and practice about what is “consonant”.
We get pleasure, according to the “canon”, from hearing these familiar and comforting combinations of sounds.
But dissonance? Dissonance means the use, deliberately or not, of sounds that usually DON’T go together, and the unfamiliar also leads to the convention of whether we find such sound combinations startling in a negative way.
Some of the first baroque composers started to work with dissonance because, as they pioneered opera, they wanted the widest range of emotional possibilities they could get, and so, these unexpected and probably initially unpleasant sounds began to find their own niche as accepted “less accepted” forms.
As you’ve figured out (I hope) by now, it’s not my job to write the music that might or might not provide dissonant or consonant choices. Fortunately, I have a world class composer to take care of that for me.
However, it IS my job a book author, librettist, and dialogue author, to create the equivalent of “sound” elements in story, song lyrics, and dialogue that synthesize things in both familiar and unfamiliar ways. In addition, like those early musical dramatists, I will draw on my own creative and contextual skills to make these choices of consonant and dissonant elements to create the widest choice possible of mood evocation, from the wacky to somber, joyous to dark, and all sorts of combinations in between.
While exposing the audience to a series of components of all kinds, I hope to provide the most unique and memorable synthesis of narrative elements I can.
Next time: SEQUENTIALMODULATION.
Lars lost his battle with