An important harmonic idea of Scriabin starts to take place around this time. What jazz musicians call a tritone substitution, Scriabin eventually works it into a basic chord progression in his late works, a progression as fundamental as I-V-I in major. Here it is still within the purview of conventional tonality, where it allows Scriabin to quickly move between distant tonal centers.
@@Whatismusic123 why would you say it's in C major? disregarding the key signature and the last chord, it is nearly pointless to admit a key. scriabin deviates so much from the tonal center, which he would later abandon, that it seems ironic the fact that he only adopts one to abide by orthodox musical structure
@@bhj6ydrtsdrtxhbftsgdnxf54t3 why would you say it's not C major? Just because he modulates a bunch? A home key is a home key, regardless of how far or how long you leave it for. It's entirely pointless to pretend there isn't a key. And even more pointless is trying to find a key by looking entirely at the score. Use your ears, and learn. "Scriabin deviates so much from the tonal center, which he would later abandon" What cultist told you that? Scriabin never "abandoned" tonal center, that would be impossible, as all music has a tonal center. Scriabin wasn't part of schönberg's cult, so he was never interested in pretending to write "atonal" music. He's the only modern composer to actually compose music after all.
![[FULL EP.16] เซียนพาลุย "เผือก-ฟรอยด์" กรี๊ดลั่น จนปูหนี | เฮ็ดอย่างเซียนหรั่ง | One Playground](http://i.ytimg.com/vi/FsqUvwS3b-Y/mqdefault.jpg)
This set is some of the strangest but satisfying miniatures I heard
An important harmonic idea of Scriabin starts to take place around this time. What jazz musicians call a tritone substitution, Scriabin eventually works it into a basic chord progression in his late works, a progression as fundamental as I-V-I in major. Here it is still within the purview of conventional tonality, where it allows Scriabin to quickly move between distant tonal centers.
I would say related rather than distant. Look up Barry Harris’s family of four dominants.
0:00 No. 1. Poeme
1:56 No. 2. Enigme
2:55 No. 3 Poeme Languide
bro ending on the c major chord hahaha
You're laughing at non-existant comedy.
@@Whatismusic123 im also laughing youre just too edgy not to see it
@@bhj6ydrtsdrtxhbftsgdnxf54t3 what a strange concept, ending a piece in C major on a C major chord! Never before seen! Hilarious!.
@@Whatismusic123 why would you say it's in C major?
disregarding the key signature and the last chord, it is nearly pointless to admit a key. scriabin deviates so much from the tonal center, which he would later abandon, that it seems ironic the fact that he only adopts one to abide by orthodox musical structure
@@bhj6ydrtsdrtxhbftsgdnxf54t3 why would you say it's not C major? Just because he modulates a bunch?
A home key is a home key, regardless of how far or how long you leave it for.
It's entirely pointless to pretend there isn't a key. And even more pointless is trying to find a key by looking entirely at the score. Use your ears, and learn.
"Scriabin deviates so much from the tonal center, which he would later abandon"
What cultist told you that? Scriabin never "abandoned" tonal center, that would be impossible, as all music has a tonal center. Scriabin wasn't part of schönberg's cult, so he was never interested in pretending to write "atonal" music. He's the only modern composer to actually compose music after all.
0:32 it seems like scriabin sonata 5
Ya it’s literally the meno vivo theme
its the opus right before scriabin sonata 5
2/16, 3/16, 5/16, 10/16, 15/16?
Not confusing tbh. Especially 10/16 and 15/16
Lisztian textures in the second one.