Musical Disobedience

Unlike in life, disobedience in music can be a good thing. It can also be bad. I shall now explain why.

THE GOOD:
Often in classical music, you hear seminotes twining together with unexpected chords, or a speedy harpsichord flying up and down the compass of notes, somehow staying in time with the bass, which suddenly swaps, and becomes the tune of the flying treble. This is musical disobedience, the breaking of scale or key, the sharps and flats that give the song it's originality. Many classical songs have fairly simple chords, but you don't notice them, because of the broken scales.
Lets look at Bourrée in Em by Bach (the master of scale breaking, and a composer that does NOT have fairly simple chords.)
He starts the song with a pickup measure of Em, and then begins the first bar with an Em and Am, then B major (which is not so naughty in the Em scale) and Am again. In the second bar, he begins with a G major, which is a break from the previous B. but then ~PLOT TWIST~ an F#m comes into the song! The F#m includes a d# note,  so it's actually a F#m6, which is jump from the G chord one note earlier, because it goes up from the d note, to a d# note. Now that might sound bad if I did that, but not for Bach... he then descends to Em, and then ~ANOTHER PLOT TWIST~ he enters with a D7/F# or something, which has a d natural note, and a c natural. Taking out the Em between those two otherwise chords would make it sound bad, because of the disobedience, but with the Em there, it sounds good. and that, is how musical disobedience can be a good thing.

the second bar of Bourree in Em by Bach (BVW 996)

THE BAD:

there is only one simple answer for bad musical disobedience.
The beginning of this song...

 
THE UGLY:
the beginning of the above song and any heavy metal... Heavy metal is musical disobedience because it's noise calling itself music...