Dissonance Reduction Techniques in Music Composition

Pitch in music has two dimensions: a linear continuum of highness/lowness and a circular dimension called pitch class, where notes an octave apart are perceived as equivalent despite being different frequencies; this 'miracle' of octave equivalence occurs because our inner ear's basilar membrane processes sounds in a way that makes pitches separated by octaves sound the same, similar to how meter combines linear time with circular rhythmic patterns.

This lesson reviews interval sizes on the staff: unisons (same line/space, size 1), steps (line to adjacent space, size 2), skips (line to adjacent line, size 3), and compounded skips (multiple skips combined). Three skips plus one step equals an octave (7+2=9, or 8-1=8). Register is defined as a range of pitches. The standard keyboard ranges from a0 (lowest) to c8 (highest). Octave equivalence means without octave designation (a0, a1, a2), any 'a' refers to any 'a' abstractly.

Understanding octave relationships requires using Middle C as a reference point. A is one octave higher than B, while B and C are the same pitch (enharmonic equivalent). C is two octaves lower than A. A and B are the same pitch, C is two octaves higher than B, and B is two octaves higher than A. C is three octaves lower than A, but this is actually only two octaves. When determining octave relationships, always count the actual distance between notes rather than just the number of note names involved.

An octave is a special interval where frequencies overlap so well that notes blend into a single sound. Specifically, an octave occurs when two notes have a frequency ratio of 1:2, meaning every cycle in the lower note lines up with every other cycle in the higher one. Because notes an octave apart sound so similar, they are treated as basically the same note in different registers. This allows the major scale to be defined by just 7 distinct notes, which can then be translated up or down in octaves.

This section explores how octave register consistency creates musical clarity. Each pitch has its own reserved octave register throughout the piece - F is always in a specific octave, B-flat always in its designated octave, and A-flat always in its reserved register. The unused pitches (C, E-flat, E-natural, F-sharp, G) appear as embellishments in the piano part. The section concludes with the principle that composers must balance structural thinking with musical feeling, sometimes prioritizing musical coherence over strict structural adherence.

Dynamics indicate volume levels: forte (F) means loud, piano (P) means quiet, pianissimo (pp) means very quiet, and fortissimo (ff) means very loud. Crescendo indicates gradual volume increase, while diminuendo indicates gradual decrease. Once a dynamic marking is applied, all subsequent notes maintain that volume until changed. Articulation marks specify how notes should be played: legato connects notes smoothly, ties combine same-pitched notes into one sustained sound, staccato shortens notes to half their duration with silence in between, and marcato adds emphasis with pressure. These markings transform written notation into expressive musical performance.

Articulation refers to how keys are struck: connected (legato) or separated (staccato). Legato requires not just connecting tones but also shaping them with dynamics and optimized arm movement to create a smooth, connected sound. Staccato uses a plucking motion to play tones briefly. Practice these articulations from the beginning with exercises like five-finger scales and apply them to every piece.

This section covers two fundamental aspects of musical expression. Dynamic markers indicate volume intensity: Piano (p) for soft, Forte (f) for loud, with variations like Mezzo Piano (mp), Mezzo Forte (mf), Pianissimo (pp), and Fortissimo (ff). Crescendo and decrescendo symbols indicate gradual volume changes. Articulation marks specify how notes should be played: Staccato (dot) for short, separated notes; Accent (wedge) for emphasized notes; Tenuto (line) for full-duration notes. Beams serve different purposes: ties connect notes of the same pitch for sustained sound, while slurs connect notes of different pitches for legato playing.

Legato (from Italian 'legare' meaning 'to bind') indicates notes should be connected without audible gaps, notated with a curved line (slur) or written as 'Legato.' On keyboard instruments, legato is achieved by playing without lifting the hand; on string instruments, by playing without changing bow direction; on wind instruments, by not tonguing between notes; on guitar, by sliding between notes without striking. Staccato (from Italian 'staccare' meaning 'to detach') indicates notes should be played short and detached, notated with dots above or below noteheads. On keyboard instruments, staccato is achieved by quickly releasing the key; on string instruments, by striking and immediately stopping the bow; on wind instruments, by tonguing and stopping the air stream. Portato (also called 'mezzo staccato') is a hybrid articulation between legato and staccato, indicating notes should be connected but with slight articulation at each beginning. Tenuto indicates notes should be held for their full rhythmic value, sometimes slightly longer. Accent indicates a specific note should be played louder than surrounding notes. Detaché combines staccato and tenuto, indicating clear separation without the sharpness of staccato.

Staccato (Italian for 'short and clipped') is indicated by dots under notes, meaning notes are played quickly with dead air between them. Legato is the opposite, indicated by curved lines (slurs) connecting notes, meaning notes are played smoothly and connected with no dead air. These articulation marks indicate how notes should be played, not just their duration.

This segment covers fundamental voice leading principles for creating natural-sounding harmonies. Contrary motion (melody and bass moving in opposite directions) creates voice independence and prevents parallel motion that sounds constrained. The instructor demonstrates this through the progression where the bass descends while the melody rises. Tritone creation and resolution is also covered, where the diminished fifth interval creates strong tension that resolves naturally. The segment emphasizes that while traditional counterpoint rules exist, practical musical considerations sometimes override strict guidelines, such as using seventh chords on strong beats when the melody demands it. These principles create more interesting and natural-sounding harmonic progressions.

Voice leading has two essential aspects: vertical and horizontal. The vertical aspect concerns chord voicing—selecting which notes to use from a chord. For a D major chord, all fundamental notes must be present, but you can duplicate any note in different octaves. The horizontal aspect concerns how voices move between chords, including how notes are duplicated and how voice movements are structured. When connecting chords, voices should avoid parallel motion that creates forbidden intervals. The goal is independent voice movement where voices move in different directions or with different intervals, maintaining each voice's unique identity while creating coherent harmonic progressions.

Voice leading is a technique for connecting chords fluidly and melodically, derived from choral music where voices are distributed among choir members. Harmony must be viewed on two dimensions: vertical (notes composing each chord) and horizontal (melody formed by each voice). Without voice leading, chord progressions create uncomfortable jumps with little melodic sense. The three core rules are: (1) Each voice should move no more than one tone or semitone between chords; (2) Maintain common notes between chords and only move changing notes; (3) Avoid repeating the same inversion between consecutive chords. These principles create linear, easy-to-sing melodies that are more pleasant to listen to and play.

Voice leading transforms chord thinking from static figures to dynamic melodic movements. Western music evolved from solo melody to polyphony with multiple simultaneous voices, creating harmony through coordinated melodic motion. Four fundamental guidelines govern effective voice leading: (1) Maintain common notes between chords as pivot points; (2) Double the fundamental most frequently, then the fifth, then the third; (3) Never connect chords with identical dispositions to avoid parallel fifths and octaves; (4) Use inversions strategically with the third or fifth in the bass. The three upper voices should not exceed an octave in distance. These principles apply universally across instruments and musical contexts, transforming harmonic thinking from memorizing chord shapes to understanding underlying melodic movements. Breaking rules is justified when it serves melodic purposes and creates effective musical results.

Vertical movement refers to simultaneous chord combinations building harmonies from bottom up; horizontal movement pertains to melodic line flow and chord progression over time. Single chords lack horizontal movement—they exist solely for their own sake. When placed next to each other, voice leading occurs as chord members move toward specific goals. For inner voices (cellos and violas), avoid large leaps at all costs; preferred movement is stepwise motion by seconds or small leaps by thirds. Large leaps of fourths or more are only acceptable if they contribute positively to harmonic balance. The workflow starts with first and second violins, then double basses, then cellos and violas simultaneously. This systematic approach ensures all parts work together cohesively.