This month we’ll consider the issue of dissonance in connection with the coming celebration of the birthday of organist, choirmaster and composer extraordinaire, Johann Sebastian Bach. What possible connection between these two subjects could there be, you ask? Well, first let us define what we mean by “consonance” and “dissonance”; then perhaps we’ll have a clearer picture of what they and Bach have in common.

We can loosely define these two terms—”consonance” and “dissonance”—as harmony and discord, or music we like because it suits our idea of pleasantness compared to music that seems somewhat out of tune and unpleasant. Even without a musical comparison we might say that people who get along together are in harmony and those who disagree with each other are in disunity or discord. Thus defined, it would appear that discord is a bad thing even between people. However, it is important to consider that people who disagree and exchange their divergent ideas often find new ideas neither party thought of before. This exchange, or conversation, holds potential for harmony, or at least possible mutual acceptance.

In music, we consider that a major chord, such as C E G, is harmonious. But suppose we add a note three tones higher, making the chord C E G B. Those musical types among us would consider that we have now added a dissonant tone to that accepted harmony. How about making it C Eb G? (Go home and try it on your keyboard.) That is commonly known as a minor chord, but what if we add a note three tones higher, making the chord C Eb G B? Now, we’re thinking we’ve gone far across the line of what is considered harmonious!  And that is exactly what the people of Bach’s time thought when he used those same two chord modifications in his music, especially in his harmonization of hymns, organ music and choir music.  They railed on him for introducing such “dissonance” into their accepted ideas about harmony. He also had the audacity to allow vocal lines in both the choral music and the organ music to “clash” together from time to time. What could he have been thinking?

In some of the music offered in our worship services, so-called dissonances are often heard. They may appear in a choir anthem, an organ or piano prelude, and perhaps in a postlude (but, of course, then we can escape to the Fellowship Hall for relief!).  A far cry from the soothing music of Bach, you say?  Well, that’s what his contemporaries said: “A far cry from the harmonies of Gruber or Pachelbel!”  And what of the meeting of minds in an honest exchange between two people’s ideas of what is the preferred consonance of “church music”? When we learn to accept the wonderful variety available in our music, as well as the wonderful variety in our world or even among those of our church fellowship, we may find ourselves coming into greater harmony. How surprised we will be when we arrive in the heavenly realms and discover endless variety among those praising the Lord!

Oh, yes, and by the way, on Sunday, March 20, we will celebrate the birthday of said Johann in the Fellowship Hall following worship. You’re cordially invited to come and bring your divergent ideas with you!

Donald E. Dillard