Sign into an existing account

Huh. I wasn't familiar with "Vexations", which seems to be the most overtly atonal of Satie's compositions. It's clear he was experimenting with chromaticism and was trying to expand chromatic tonality with that piece. The other compositions of his I'm familiar with are quite modal and seem to be influenced by Medieval harmonies and textures. Considering the scope of Satie's experimentation, I'd hesitate calling him an atonal composer, although "Vexations" is clearly atonal. (For the record, I dislike "Vexations" and find it unlistenable.) Like many others, I would compare Satie's experimentation with harmony with Debussy's, who also resisted tonality and classical harmonies. Earlier, Wagner was composing lengthy operas that modulated and changed keys frequently, but I wouldn't call him atonal.

He was definitely what we would now call minimalist and modal, and seemed to enjoy using unusual modes, harmonies, and scales, including pentatonic. I read that some consider his composition to be more anti-tonal than atonal. I think it comes down to what degree one considers a work to be atonal. I think Satie dabbled in it as many of his contemporaries were doing (particularly Stravinsky), but it doesn't describe the complete character of his output.

Hhahaha what a feeble moron you are. Stuff your big fat ego up your ass.