consonance/dissidence is the sixth work I’ve written expressly for string quartet. While it is very much pattern-based and uses some canonical techniques at times, it also includes motifs that are gnarly, rhythmically and harmonically complex, and hark back to some of the early 12-tone works I composed in the 70’s and prior to 1982. It is also the first work I’ve ever composed to include quarter tones, although this is only used in a few measures around midway through the piece. The word “dissidence” is intentionally used, rather than “dissonance.”