The idea that a chord presented not a mere combination of intervals but a unit, primary and indivisible, was associated with a far-reaching change in the concepts regarding the nature and the functions of dissonances. In counterpoint before 1600, a dissonance in strict writing was a relation between two voices; and the dissonant note was regarded as being the one that had to advance to the resolution of the dissonance, hence in ex.2a the lower note, in ex.2b the upper. (The second, or ‘reference’, voice could either remain on the same note or move to a new one at the resolution.) A suspension on the strong beat is produced by a step in the ‘reference’ voice (ex.2a), and a dissonant passing note on a weak beat by a step in the voice making the dissonance (ex.2b). | The idea that a chord presented not a mere combination of intervals but a unit, primary and indivisible, was associated with a far-reaching change in the concepts regarding the nature and the functions of dissonances. In counterpoint before 1600, a dissonance in strict writing was a relation between two voices; and the dissonant note was regarded as being the one that had to advance to the resolution of the dissonance, hence in ex.2a the lower note, in ex.2b the upper. (The second, or ‘reference’, voice could either remain on the same note or move to a new one at the resolution.) A suspension on the strong beat is produced by a step in the ‘reference’ voice (ex.2a), and a dissonant passing note on a weak beat by a step in the voice making the dissonance (ex.2b). |