Any chord can follow any chord.
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also attributed to Max RegerFranz Liszt
"In the passage quoted here from Monteverdi's madrigal [Cruda amarilli, mm.9-19 and 24-30], one sees a tonality determined by the characteristic of the accord parfait on the tonic, by the sixth chord assigned to the third and seventh degrees, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait, and above all, by the unprepared seventh chord (with major third) on the dominant."
Francois-Joseph Fetis
"In f-major, c* [a C major chord] is a sonority contained within the overtones of the tonic f* [a F major chord]."
Jean-Philippe Rameau
Punk's an attitude. Punk's not three-chord rock. If you want to listen to three chord rock, there's southern rock.
Jack Terricloth
If one is to take Lulu's twelve-tone chord as the integral totality of complementary harmony, then Berg's allegorical genius proves itself within a historical perspective which makes the brain reel: just as Lulu in the world of total illusion longs for nothing but her murderer and finally finds him in that sound, so does all harmony of unrequited happiness long for its fatal chord as the cipher of fulfillment — twelve-tone music is not to be separated from dissonance. Fatal: because all dynamics come to a standstill within it wihout finding release. The law of complementary harmony already implies the end of the musical experience of time, as this was heralded in the dissociation of time according to Expressionistic extremes.
Theodor Adorno
You just pick up a chord, go twang, and you've got music.
Sid Vicious
Liszt, Franz
Littlewood, John Edensor
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