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I would like to remind you blogees of an all-too- often-forgotten (or altogether-ignored!) concept of elegant musical performance: namely that, in general, DISSONANCES SHOULD BE PLAYED OR SUNG MORE LOUDLY THAN CONSONANCES.

This rule applies to MELODIC dissonances on strong metrical beats (such as appoggiature and suspensions) as well as to HARMONIC dissonances (such as secondary dominants and diminished seventh chords).

In all real music, dissonance is RESOLVED into consonance: tension and release; conflict and resolution. This is also why most phrases end relatively quietly. When done tastefully, the effect is sweetness itself!

In order to accomplish this without a sudden, clumsy sforzato in the phrase, gradually crescendo up to the crux, the point of highest tension, making this the loudest point in the passage; then, either suddenly or gradually, depending on the context, make the resolution MUCH quieter.

Practice using this method on a variety of musical passages until it becomes second-nature to you. This alone will help to infuse your performances with a natural warmth and sensitivity that positively bristles with understanding and musicality!