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My favourite of his sonatas. Its so atonal yet tonal at the same time. Full of tonal, harmonic, and rhytmic colors!

Thanks for the analysis, you really helped me wrap my head around this piece, I'm starting to unravel its brilliance!

Genius

Bro kinda looks like Scriabin

Scriabin and set theory are two favorite things in all of music, having a RUclips channel like this is a goldmine, I watch these late at night to relax and it's always interesting, you're a saviour🙏🏻

Thank you so much Jay Beard for all your hard work in putting these videos together. I really like your presentation style and I am getting a lot out of these videos.

Another great video! Thank you analysis maestro Jay ;) There needs to be a word to properly describe the intense feeling you get when you know you deep-dived into all of Scriabin's late music and there just isn't any more works left to uncover. He's such a finite resource and that kills me. It's such an intense feeling: why did he have to die so young? What was coming next from that glorious mind of his? No one has filled in the void he specifically left. Not Roslavets, Sorabji, Messiaen, Feinberg, Szymanowski, et al. I'm sure you feel the same. I must be grateful we got as much as we did. But....aghhhhhhh (shakes fist at the sky, throws objects across the room).

Everything by Skryabin is what you would call a “Certified Hood Classic”

His whole late period is fascinating but this remains one of my absolute favorites. Great analysis.

Thanks so much for all the effort involved in yet another great analysis.

Great work as always. Your work always give a concise, thorough explanation of these complex and intriguing pieces. Thankyou.

dude only 35 views in 1 hours? Man U need more respects

After listening to countless recordings of the piece I am convinced that there is no great or even just good recording of the piece, no can make it sound like it emulates the end of all things

This is great! Are you going to be doing similar videos on his sonatas?

Neurodivergence is something that we can’t really do more than speculate in without being able to do an in-depth assessment, especially in someone that lived as long ago as Scriabin. I think this is an interesting video, but it definitely doesn’t make much of an argument. He’s certainly a genius and definitely odd - a lot of the biographical work in him does point to certain sensory-seeking behaviours and a *lot* of restrictive/repetitive interests which are certainly part of the DSM-V and ICD-11 criteria for Autism Spectrum Condition - but ultimately there is evidence to suggest otherwise as well. For instance, his high level of empathy which was expressed from a young age implies that his ability to suscept the emotions/intentions of others was not impaired. From the little we know of him as a child, he was interested in playing with other children and despite being bullied for his slight stature and feminine habits, he was capable of making and sustaining friendships. Regardless, whatever neurodivergence he may or may not have had, he had a wonderful mind that produced some unbelievable music for us all.

High intellectual capabilities and ADHD share a lot of characteristics with autism. And I think it is plausible that Scriabin had high intellectual capabilities. Also, for the example of the op 2 no 1, I don’t think being 15 when he composed it is too young, most composers had composed serious works at that age, and most people have already developed musical maturity at an age around 14-17. But this is just picking on the details and you have convinced me with this video. Is there any paper or something that supports this theory

what means 7-35? Why 35?

This is one of the greatest symphonies ever. I was never into orchestral works without piano..... But this just hits different!

Amazing to see all the themes highlighted... in particular that the 'sweet (poison?)' theme 4 (blue) becomes the upper voice of the dissonant Alla marcia (with the trills underlying it)... what an amazing piece of work this Sonata was. Scriabin's late Sonatas are ultra-concentrated; based on a handful of notes, similar to Beethoven's late works, masterpieces of expansion and possibility of harmonies, abandoning Western chords. Just experimenting with sonorities and overtones; constrained into a short format, making their their impact unbelievable. ruclips.net/video/bEbb_k-YnOs/видео.html

I've read that Stravinsky wrote to Scriabin about this Sonata, saying "I'm getting so much out of this!"

Fantastic. I am studying Picasso. So had to take a look into Kahnweiler. Happy to land on your music.

The Summons of the main theme of S8 (m.21 and on) - two notes upward. (Actually how cool is that in the Flammes Sombres the two notes are 'summoning' downward!)...

I can’t hear 1:55 without thinking of Mirroirs, AND coincidentally Skriabin was at the same place on the same DAY that this piece was premiered

You can also interpret them as: 1) yearning / inspiration/ longing / calling 2) intoxication / obsession / passion / fire 3) elation / ascendance / arousal / transfiguration 4) peak experience / catharsis / orgasm / final transformation Btw, initially his Le Poème de l'extase was called Poème orgiaque.

yay

amazing job, i love scriabin but im not able to play his pieces on piano, i wish i could sight read as good as you :(

you are a genius, people are lucky to have access to these insights for free on youtube.

Thank you so much for making this video, it helps a lot to understand Scriabin’s music, I wish I had discovered that academic paper before. For the example in sonata 9 for the fanfare motif, don’t you think it is derived from the pure motif? And therefore implies the pure protagonist being born from its oxymoronic atmosphere

very cool

Love the Scriabin Sound Worlds

I hope I can play this etude in a few months.

is the tutorial no longer available? :(

Awesome analysis...a piece with the same evil sh$@ that is in the ninth . Corruption of innocence.

Aye look I ain’t the only guy under 40 who loves this shit!

Hi Jay! Let me ask you for your opinion on this: I used to play professionally and now I make music for pure fun and personal enjoyment. I have been playing at least one instrument for over 20 years now but I have never studied theory formally. Part of the problem is that I am visually impaired and this keeps a lot of the study material out of my reach, but that is the smallest part of the problem. What really made me put theory aside was the fact that I was never able to understand its usefulness for my "musical case". After discovering Set Theory, it was like a new world opened up and I understood the language that was being spoken. I believe that the real reason why my relationship with theory was so distant was the fact that I was looking for logic in a system made for a certain type of music that is not the type of music I aspire to. One (kinda) funny thing: I was recently thinking about organizing my own system to structure and understand music not based on the major scale. Obviously I researched the subject and soon discovered that, as always, when I have an idea it is a sign that someone smarter and more capable than me has had that idea before hehehe.. Anyway... In Set THeory I found the logic I was looking for. What do you think about that? Would you agree with the statement that the student needs to be guided to find a method that he understands if the traditional one doesn't make sense for them? There is a lot of ways to perceive things like sound... I don't supose we can actually choose how we do it... anyways... I'm learning a lot here, thank you for kindly sharing your knowledge. All the best for you!

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Looks intriguing!😊

Pink = flying Red = noble sweet majesty Orange = intro to imperious motif Yellow = caressing Brown = imperious Light green = counter melody motif Darker green = restless Light blue = chromatic ascent motif Sea blue = languid desire Purple = tranquility Codetta pink = delight

Are you able to provide examples of composers applying set theory in their own music?

Red - Primary motif Blue - Half step motif Green - Rising/falling motif Purple - #11 motif Yellow - 4th's motif

On ordering modes: You can pick ANY objective function which projects the data from each mode into a single number, and use that single number as the order of modes. As you said you can measure their compactness and then order them based on that. But why is that the only natural choice for function to decide how to order modes? What about, say, mapping the mode into a word with characters W/H only, and ordering based on alphabetical/dictionary ordering? Obviously each mode will be unique in that sense too and would provide a distinct ordering relative to your compactness measure. And there's a lot of other ways of ordering them as well. I ran into this problem when trying to find "The" natural ordering of all possible quarter note/rest rhythms for a single bar of 4/4. You can always define a metric, and that metric produces the natural ordering of the rhythms. But there is no natural metric by which is the ultimate lens for determining how those rhythms should be ordered. There can always be another natural way of looking at it which produces a distinct ordering.

Hello Jay Beard! I'm only 30s into the video so far, I will finish it, but to me, "Set Theory" is the branch of mathematical logic which describes collections of objects. An example of a set could be infinite strings of binary digits, and one can prove that set is in some sense the same size with the real numbers (decimals) using logical steps. (If you're curious what 'same size' means in the context of set theory, we say two sets are the same size when we can define a natural function which maps from one set to the other without ever having two distinct inputs map to the same output and every output has to be hit by at least some input). Cheers, I will now continue into your alternative definition of set theory! Maybe there will be some parallels into the mathematical set theory which is why it is named as such. By the way, I am deep into tuning theory and appreciate that we need to invent new analytical structures to understand structures embedded in music, so I'm all for analysis and new analysis techniques. That's probably why YT recommended this video on my front page. Cheers and I'll continue the video now.

Dude this series is a god send

Brilliantly done and yay for playing a Mason & Hamlin.

Marvelous!