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This "chord progression" is composed - with some changes- of chords from different composers of different eras:

J,S.Bach - https://pjb.com.au/mus/arr/us/satb_chorales.pdf ( p.4 , last chord of BWV26)

C. Debussy - https://researchspace.ukzn.ac.za/xm...tern_1978.pdf?sequence=1&isAllowed=y ( Example7 ,p. 11 ,second bar -at the end of first quarter )

B.Bartok - https://barbarakletzel.files.wordpress.com/2015/09/bartok-mikrokosmos-1-6.pdf ( p.62 , bar 24 at last quarter )

A.Shoenberg - https://musopen.org/music/10860-6-little-piano-pieces-op19/ ( # I - last quarter of sixth bar )

D. Brubeck
- http://ekladata.com/0xBhVpMDO4Xfkdr4EfUpEVNvCbY/-Sheet-Music-Piano-Dave-Brubeck-Points-On-Jazz.pdf ( p.32 ,3rd bar )

Everyone can hear that every chord does not fit the rest; however, if you exclude the factor of voice leading (very important), then not everyone can indicate the reasons. At the same time, each of the chords in isolation strictly corresponds to the stylistically chords context of each of the selected composers. It is at this point Y. Kon presents in his work "On one property of the atonal vertical in the music of Schoenberg and Berg" the reasons for the stylistic similarity , in conditions lack of tonality of tonality and functionality of chords. However, practice shows that the Kon's method is also suitable for music from previous periods.

Last edited by Nahum; 07/09/19 06:10 AM.