Fourthright Forthright

Harmony was, for several centuries, dominated by the interval of the third. But, by the end of the nineteenth century with the freeing up of the ‘rules’ that governed the use of dissonance, composers had started to make their music out of other materials, and a significant number of new works were written around the […]


Not all dissonances come with an – albeit slight, in some cases – whiff of diabolic sulphur; some have been fully integrated into polite society. Here’s a case in point: the dominant seventh (known as V7 for short). It can be encountered anywhere from staid Lutheran gatherings in Leipzig’s Thomaskirche through to rather louche evenings in […]