Although there was already a group of French composers – including Saint- Saens, Milhaud, and Honegger – who tried to define original French piano music in the late nineteenth century, however, they still could not escape from the overwhelming German influence. Not until 1918 when the French poet Jean Cocteau stated his opinion that Satie taught what was the greatest audacity and simplicity in music, which was not influenced by “Wagnerian” or “Debussian” elements. Satie (1866-1925) represented the first break of French romanticism, who stood in opposition to Debussy. His writing style was considered unusually and unlikely at that time for three reasons: first, the total avoidance with any involvement with grandiose sentiment of “romantic” music; second, the disregard of traditional musical elements; and third, the extreme expression and inspirations resulting in boisterous titles including the Trois Gymnopédies (1888). Satie’s radicalism in composition writing, at first, might not have been well-appreciated; nevertheless, it was so impactful that Satie has been credited by some commentators as the “father” of an entirely new kind of music, elegant, cool, and un-Wagnerian. Therefore, the purpose of this research is to evaluate the impact of Satie’s musical styles to the development of piano music in the twentieth century, the Trois Gymnopédies as musical examples.