I am truly amazed at you How you were able to absorb the compositional styles of Brahms, Chopin, and Scriabin, how you were able to translate them into your own compositions, and how you were able to teach them to us as well
Your composition and channel rock man , or should i say Baroque ! Youve inspired me on a few of my own tracks over on my channel , working some ornamentations and circle of fifths modulations into my game music tributes to get that baroque sound , keep up the good work !
Given enough beer, I could be fooled into thinking this is a work of Scriabin. Unfortunately, that says very little, because I haven't been keeping up with trends in music since 1750 or so. Good work, regardless! :)
Beautiful! Good sound quality too. You give the listener so much in just one minute of music. You are too generous. I challenge you to take this music and expand it at various points. 😎
Yo, Matthew, well I would and sometimes I do. The thing is that I personally don't find Roman Numeral analysis ever really illuminating, especially in later romantic styles like this one it becomes actually usueless as harmonic functionalism begins to fall apart. Already in Scriabins early style the literal foreground level (e.g. very specific chord voicings and particular voice leading tropes and especially characteristic suspensions) becomes such an important part of the harmonic design itsself that it makes no real sense anymore to break it down to chord symbols. Lets take the penultimate chord of this piece: although you could label this as a Ger6+ chord (rather more an unusual inversion of it) the chord's implicit functional purpose - as a precadential chord preparing some sort of V or I 6/4 - is not realized anymore. On the form haha: there is no theme nor motive, it's just a piece that's trying to emulate an improvisatory stream of sound. A formal standard constellation is fulfilled thoough: the modulation to the III in a minor context. Well you can study yourself, sheet is downloadable for free (see description) If you're interested in aspects of Scriabins early style, or how I'd approach it you can watch this little tutorial video here: th-cam.com/video/NCPueHsXQhA/w-d-xo.html cheerrs and thanks for watching
I am truly amazed at you
How you were able to absorb the compositional styles of Brahms, Chopin, and Scriabin, how you were able to translate them into your own compositions, and how you were able to teach them to us as well
Excited to see you publishing original compositions here!
Amazing job! You're a great composer!!! ❤
Very impressive. Wow
Your composition and channel rock man , or should i say Baroque ! Youve inspired me on a few of my own tracks over on my channel , working some ornamentations and circle of fifths modulations into my game music tributes to get that baroque sound , keep up the good work !
YO thanks!
Given enough beer, I could be fooled into thinking this is a work of Scriabin. Unfortunately, that says very little, because I haven't been keeping up with trends in music since 1750 or so. Good work, regardless! :)
Thx, Kresimir... It'd take me some beers as well, actually :DD
Hope you do more of composing as well...great piece😊😊😊
Will do, no worries! Thanks for watching! :D
Beautiful! Good sound quality too. You give the listener so much in just one minute of music. You are too generous. I challenge you to take this music and expand it at various points. 😎
Bella composición, ejemplar trabajo🎉
❤❤❤❤❤
🥰
Can you add harmonic/form analysis to these kinds of videos? It would be interesting to see, especially when it is hard to follow harmony.
Yo, Matthew, well I would and sometimes I do. The thing is that I personally don't find Roman Numeral analysis ever really illuminating, especially in later romantic styles like this one it becomes actually usueless as harmonic functionalism begins to fall apart. Already in Scriabins early style the literal foreground level (e.g. very specific chord voicings and particular voice leading tropes and especially characteristic suspensions) becomes such an important part of the harmonic design itsself that it makes no real sense anymore to break it down to chord symbols. Lets take the penultimate chord of this piece: although you could label this as a Ger6+ chord (rather more an unusual inversion of it) the chord's implicit functional purpose - as a precadential chord preparing some sort of V or I 6/4 - is not realized anymore.
On the form haha: there is no theme nor motive, it's just a piece that's trying to emulate an improvisatory stream of sound. A formal standard constellation is fulfilled thoough: the modulation to the III in a minor context. Well you can study yourself, sheet is downloadable for free (see description) If you're interested in aspects of Scriabins early style, or how I'd approach it you can watch this little tutorial video here: th-cam.com/video/NCPueHsXQhA/w-d-xo.html
cheerrs and thanks for watching
Ptin ça défonce.
👌
Moar!!!
How did you even start composing thos
What do you mean exactly?
@@en-blanc-et-noir like when you go to start composing a piece how do you start
Wie alt bist du? Es hört sich so an, als hätten Sie irgendwann Skrjabin-Unterricht genommen! :D
LOL Roberto
First
Först gets a heart!