Dear Rich, your analysis is fantastic! These two videos are part of only a handful of helpful Scriabin analysis videos available on TH-cam at this time - your studies show great insight and your presentation, great clarity: did you go on to study any further Scriabin pieces in this manner? Have you considered making any more videos? Are you still studying? And finally, is there anywhere people like me can go to find the results of your work? The format of these videos makes it easy to transfer the knowledge you present into practical, useful music-making. This makes them rare and valuable in the field of music study imo. I value your having posted these, they are exceptionally helpful! Cheers!
Rory Quirk thanks for your comment, and sorry it took me so long to sign in and see it! To answer your questions in order, these are the only Scriabin pieces I have applied this technique to, but I have used it with success in a variety of 20th and 21st century repertoire such as Britten's Midsummer Night's Dream and Previn's 4 songs for soprano, cello and piano. In fact, this is my default way of thinking about harmony after the mid 19th century (depending on the composer). I would certainly make more similar videos if I felt there were a specific demand form them, but at the moment my main work is as a vocal coach and organist rather than a theorist (hence the practical bent you noticed), so I don't spend much time on presenting this kind of thing. As a result, there are no real formalized "results" of my work, unless you count compositions, in which you can find a few on imslp. I'm glad you enjoyed the videos!
@@rich_coburn You're welcome, Rich - I'm also late getting back! Thanks for including those suggestions, I will look into them. Your improvisation on 'Silent Night' (imslp) was nice, man. Thanks again!
woejinslow I mean that the B-flat chord is a dominant function chord which resolves to a chord with a bass (not a root mind you) a tone higher instead of to the tonic. In other words, it's just the progression V-IV6, which one finds occasionally at deceptive cadences in more traditional harmonic analysis.
CERI MCCOY what do you mean by constant tonality when we chord stack? I'm not sure I understand your terminology, but I'd love to know what you're getting at.
@@rich_coburn I think he's wondering if we could do away with key signatures in late scriabin. Considering that his late harmonic language is mostly built on the prometheus chord that (for example) allows for fewer transpositions than diatonic harmony, I think it would be possible to notate these pieces in an alternative way, based on the specific prometheus harmony being used at the moment. Maybe this could be an interesting approach to a large-scale late scriabin analysis, but probably not useful for any performer.
I haven't published this research not do I have any plans to, sorry. I'm not in academia; this is just something I did for fun when I was learning the 5th Sonata and realized I couldn't understand the harmonic language.
Dear Rich, your analysis is fantastic! These two videos are part of only a handful of helpful Scriabin analysis videos available on TH-cam at this time - your studies show great insight and your presentation, great clarity: did you go on to study any further Scriabin pieces in this manner? Have you considered making any more videos? Are you still studying? And finally, is there anywhere people like me can go to find the results of your work?
The format of these videos makes it easy to transfer the knowledge you present into practical, useful music-making. This makes them rare and valuable in the field of music study imo. I value your having posted these, they are exceptionally helpful!
Cheers!
Rory Quirk thanks for your comment, and sorry it took me so long to sign in and see it! To answer your questions in order, these are the only Scriabin pieces I have applied this technique to, but I have used it with success in a variety of 20th and 21st century repertoire such as Britten's Midsummer Night's Dream and Previn's 4 songs for soprano, cello and piano. In fact, this is my default way of thinking about harmony after the mid 19th century (depending on the composer). I would certainly make more similar videos if I felt there were a specific demand form them, but at the moment my main work is as a vocal coach and organist rather than a theorist (hence the practical bent you noticed), so I don't spend much time on presenting this kind of thing. As a result, there are no real formalized "results" of my work, unless you count compositions, in which you can find a few on imslp.
I'm glad you enjoyed the videos!
@@rich_coburn Would you consider performing some of your compositions and uploading them?
@@rich_coburn You're welcome, Rich - I'm also late getting back! Thanks for including those suggestions, I will look into them. Your improvisation on 'Silent Night' (imslp) was nice, man. Thanks again!
anyone that takes the time to publish an analytical lecture-type video on the subject of these great masters, gets my sub! thanks.
Thanks a lot for this ! very very helpfull for my upcoming thesis ! Viva Scriabin !
scriabin is king
what do you mean by deceptive motion at 10:10. Bb to Ab?
oh wait, cause the upper structure of a c triad is in both? just a shifting bass?
woejinslow I mean that the B-flat chord is a dominant function chord which resolves to a chord with a bass (not a root mind you) a tone higher instead of to the tonic. In other words, it's just the progression V-IV6, which one finds occasionally at deceptive cadences in more traditional harmonic analysis.
Scriabin's the man alright. Makes me wonder if when we chord stack whether or not the tonality is constant. Like do we need the key signatures?
CERI MCCOY what do you mean by constant tonality when we chord stack? I'm not sure I understand your terminology, but I'd love to know what you're getting at.
@@rich_coburn I think he's wondering if we could do away with key signatures in late scriabin. Considering that his late harmonic language is mostly built on the prometheus chord that (for example) allows for fewer transpositions than diatonic harmony, I think it would be possible to notate these pieces in an alternative way, based on the specific prometheus harmony being used at the moment. Maybe this could be an interesting approach to a large-scale late scriabin analysis, but probably not useful for any performer.
@@SpaghettiToaster i know this is old but many late Scriabin pieces do not feature a key signature
have you published a paper on this yet? would love to have a paper copy of this to reference!
I haven't published this research not do I have any plans to, sorry. I'm not in academia; this is just something I did for fun when I was learning the 5th Sonata and realized I couldn't understand the harmonic language.
genius