Baroque composer, Jean-Philippe Rameau, labored under a belief that there are two types of harmony, consonant and dissonant. However, all resonant tones are naturally and fundamentally consonant in a spectrum of overtones. Therefore, any combination of tones, regardless of harmonic structure, is fundamentally consonant and only secondarily dissonant according to prevailing convention. Rameau’s Paradox is an orchestral offering that accommodates atonality in a tonal context.