I'll probably use some chromaticism, but it will ultimately still be Ionian. I can write something in a major key and make it sound wistful. Things like tempo, instrumentation, the amount of space you leave, all of those really contribute to the emotion of a song. There are some emotions I am less likely to try and convey with certain modes, and others that I am more likely to convey, but none of them are specific enough for me to say, "that's the happy mode, that's the angry mode, that's the I've-just-been-reunited-with-my-father-who-never-hugged-me mode." For me, thinking the modes as being more or less tense is a far more effective way of thinking about them because the emotion of a song comes from way more than just what mode you're using. The perfect fourth is often considered a perfect consonance, as the perfect fifth and the octave.Personally, I don't associate any major modes with specific emotions either. In more contemporary music, many consider the fourth to always be as consonant as the fifth. The fourth is always consonant when supported by a lower third or perfect fifth, for example, E-G-C-E is consonant, but G-C-E is dissonant. In common practice music, it can be both consonant and dissonant: in this case, it has a need for resolution when unsupported by lower notes, in which case it is dissonant even though it sounds as "good" as the fifth. The perfect fourth is the inversion of the perfect fifth. If the F is played below the E, the interval becomes a major seventh, which is less dissonant.
For example, in a Cadd11 chord (see Complete List of Chord Patterns), there is a minor ninth between the third, E and the eleventh F. Some chords are typically voiced to avoid a minor 9th (musicians invert the interval and play a major 7th instead). Other "avoid notes" are the minor 6th in aeolian mode, or the minor 2nd in phrygian mode. This is the basis for some notes being called "avoid notes", typically the 4th of a major scale - it sounds dissonant because it forms a minor 9th with the 3rd. In Jazz, the minor 9th is often considered too dissonant for practical use.In the Middle Ages and Renaissance, it was known as diabolus in musica because the perfect fifth was considered to be a reflection of the divine, and the tritone falls just short of a perfect fifth. The tritone (an augmented fourth or diminished fifth) is dissonant.Composer/theorist Vincent Persichetti, in his book Twentieth-Century Harmony, classifies major 2nds, minor 7ths, and major 9ths as "soft dissonances," whereas minor 2nds, major 7ths, and minor 9ths are "sharp dissonances." Major and minor seconds, sevenths, and ninths are dissonant.The perfect fourth is considered dissonant in common practice music when not supported by a lower third or fifth (but see below).Specifically, the perfect fourth is dissonant when it is formed with the bass note of any sonority.ĭissonant intervals The perfect fourth is dissonant in some contexts but consonant in others (see below).The major third and sixth, as well as the minor third, sixth, are considered to be imperfect consonances.The unison is a consonance insofar as it can be considered an interval at all (many say it cannot). The perfect fifth and the perfect octave are considered perfect consonances.In this article, we will be using the terms "consonant" and "dissonant" as they are understood in common-practice tonal music, as is the tacit convention when speaking of consonance and dissonance in general.Ĭonsonant intervals in tonal music As such, a sonority which is consonant in one context where it does not seem to demand resolution (say, major 2nds in a Debussy prelude) may sound harsh or out-of-place in a different context where it must be resolved (the same major 2nds in a Bach fugue). Note that this distinction depends entirely on musical context. (Chords having dissonant intervals are themselves considered dissonant). Thus, there is a hierarchy of consonant and dissonant intervals. However, dissonance in itself is not an undesirable thing we use dissonance to provide the "spice" to music. A consonant interval is one that is stable and does not demand treatment. A dissonant interval can be described as being "unstable" or demanding treatment by resolving to a consonant interval.
A quick review of intervals might be helpful if you're approaching the subject for the first time. Consonance and dissonance are subjective qualities of relationship that we assign to music intervals.
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