TWO GNOSSIENNES

As I love Satie, sometimes I "try to copy" his style, and I play with harmonies and chords...

Lovely. There couldn't be any doubt about the influence of Satie in these. I always adore music which has so much clashing harmony used to such a soft effect. In Long Drink, it's interesting how the melody emphasizes the Eb/D#, which is pretty unrelated from the bulk of the harmony. 

I have a question about one of the chords you use in the End of the Day Gnossienne (ignorance on my part). What distinguishes a min7(b5) from a regular dim7 chord? 

Min7b5 : 1 - b3 - b5 - b7

dim7 : 1 - b3 - b5 - bb7

example

Dm7b5: D-F-Ab-C

Ddim7: D-F-Ab-Cb

Nice. For fun I was playing along with a clarinet counter melody. I love the Satie sound. Wasn't he the first minimalist? I think so.

That chord is sometimes referred to as a Half-diminished chord because it's only a flat seven.  (ø) as opposed to (o)

Honestly, don't know very much about this Satie, but if it's as pleasant as you make it sound, I'll sure go have a listen. I especially love the second one... when a person uses minor major 7th chords well I can't help but be entertained.

Thanks for the explanation Luis and Ken. I'm a little uneducated about some chord naming conventions.

On 14/10/2016 at 4:25 AM, Monarcheon said:

Honestly, don't know very much about this Satie, but if it's as pleasant as you make it sound, I'll sure go have a listen. I especially love the second one... when a person uses minor major 7th chords well I can't help but be entertained.

Satie was a genius and the first minimalist. Here are Satie's original Gnossiennes where you can hear the modal harmonies that give it its mysteries that I never grow tired of.