Loded

Will Grant writes...
>and you can't possibly intend to say that there
>is no difference between vertical and horizontal.

I thought Paul Erlich meant 'chords' and 'melody' respectively!

>I'm not sure what you had in mind, but it doesn't
>seem likely that you really mean that there's no difference
>between vertical and horizontal harmonies.

I'm not sure what you mean by vertical and horizontal.

>To begin with, if they're cohabitating in blissfully perfect
>consonance, they're not doing very much musically.

Could you elaborate?

Gary Morrison writes...
>That in turn touches upon the question of whether it's really wise to
>substitute the word "dissonant" for "discordant", as so many of us do.
>Dissonance is a measure of the need to resolve, which is context-sensitive.
>Discordance on the other hand, is a measure of harmonic tension of a chord
>in isolation, which is inherently context-INsensitive.
>
>So a G major chord and a C major chord are equally discordant (that
>being rather NONdiscordant), but in the key of C major, a G chord is much
>more dissonant than a C chord.
>
>(And just why the heck is there no antonym for "discordant"?! @#$%!)

I'm with you. But what does this have to do with...

>In short then, the case for the idea that horizontal and vertical
>aspects of music can't be taken in isolation, is based upon the premise
>that dissonance is every bit as much a function of its place in the
>counterpoint as it is upon its discordance. That premise is, at least
>historically speaking, totally undeniable. But perhaps it is debatable
>with respect to this particular discussion, or with respect to its
>relevance to, say, atonal music.

..how you are using "vertical and horizontal"?

Carl


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