dissonance

> i'm a strong advocate of using the "-cordance" terms to
> describe the precise psycho-acoustical perceptions, and
> leaving the "-sonance" terms for the ones dependent on
> musical context.

>>In which case you could have an "extreme discordance", but an "extreme
>>dissonance" would be basically meaningless and a highly misleading
>>term to use about anything, and especially about anything which was
>>far from being highly discordant.
>>

I don't see why it wouldn't refer to a case of both. In C major, the
dyad Bb and B, is an "extreme dissonance". It's got "foreign" pitches
in it, and it's highly discordant.

--- In tuning@yahoogroups.com, Christopher Bailey <chris@m...> wrote:

> I don't see why it wouldn't refer to a case of both. In C major, the
> dyad Bb and B, is an "extreme dissonance". It's got "foreign"
pitches
> in it, and it's highly discordant.

So using this terminology it is a dissonance which is extremely
discordant, but that doesn't make it an "extreme dissonance". But
C-E-G-A# is not discordant, so it hardly makes sense to slap the
"extreme" label on it. It simply confuses things and spreads
disinformation, as I said.