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'Twas easy following where invention trod
— All eyes can see when light flows out from God.
And thus did Jubal to his race reveal
Music their larger soul, where woe and weal
Filling the resonant chords, the song, the dance,
Moved with a wider-winged utterance.

 

George Eliot

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But ere the laughter died from out the rear,
Anger in front saw profanation near;
Jubal was but a name in each man's faith
For glorious power untouched by that slow death
Which creeps with creeping time; this too, the spot,
And this the day, it must be crime to blot,
Even with scoffing at a madman's lie:
Jubal was not a name to wed with mockery.
Two rushed upon him: two, the most devout
In honor of great Jubal, thrust him out,
And beat him with their flutes. 'Twas little need;
He strove not, cried not, but with tottering speed,
As if the scorn and howls were driving wind
That urged his body, serving so the mind
Which could but shrink and yearn, he sought the screen
Of thorny thickets, and there fell unseen.
The immortal name of Jubal filled the sky,
While Jubal lonely laid him down to die.

 

George Eliot

 

So, if you played a C major chord to pretty much any person on the planet, they'd say that it sounds "harmonious" (or pleasing, or happy, etc, etc). But now when you want to put chords and melodies in an ordering and make a larger piece called a "song", then that is a much more difficult process, and gets very subjective. At that point, it's not just the chords, it's the lyrics, rhythms, instrumentation, tempo, intensity, any number of other things that goes into a song... so many variables that it's almost impossible to predict how a song will affect a given person.

 

Andrew Sega

 

For this is the song of the double-soul, distortedly two in one, —
Of the wearied eyes that still behold the fruit ere the seed be sown,
And derive affright for the nearing night from the light of the noontide sun.
For one that with hope in the morning set forth, and knew never a fear,
They have linked with another whom omens bother; and he whispers in one's ear.
And one is fain to be climbing where only angels have trod,
But is fettered and tied to another's side who fears that it might look odd.

 

James Branch Cabell

 

Such fable ours! However sweet,
That earlier hope had, if fulfilled,
Been but child's pap and toothless meat
— And meaning blunt and deed unwilled,
And we but motes that dance in light
And in such light gleam like the core
Of light, but lightless, are in right
Blind dust that fouls the unswept floor

For, no: not faith by fable lives,
But from the faith the fable springs
— It never is the song that gives
Tongue life, it is the tongue that sings;
And sings the song. Then, let the act
Speak, it is the unbetrayable
Command, if music, let the fact
Make music's motion; us, the fable

 

Robert Penn Warren

 

It's just rock and roll. A lot of times we get criticized for it. A lot of music papers come out with: 'When are they going to stop playing these three chords?' If you believe you shouldn't play just three chords it's pretty silly on their part. To us, the simpler a song is, the better, 'cause it's more in line with what the person on the street is.

 

Angus Young