What a fascinating video ! As a Scriabin and Jazz enthousiast, I was amazed by your comprehension of Scriabin's harmony. I knew you would select that 4th sonata ! Your overall selection was great and there are many more that sound jazzy (like the prelude op 37 n°3, op 48 n°2...) I find that amazing that you actually spotted some jazzy intricacies in such an early work as the little prelude. This shows how great of a musician you are. Not only your lecture was so interesting but also your impros were OUTSTANDING, especially the last one. You are truly a great musician.
When I studied Bebop harmony in grad school in the early 1980s I could see that Scriabin had already used that harmony. I had studied Scriabin and already understood much of his harmonic practice. I also found the Dernova book to be especially helpful in showing that Scriabin's music is tonal, not octotonic and not quartal and not atonal.
@@MusicByTomas Dërnova, Varvara. 1968. Garmoniia Skryabina [Scriabin’s Harmony]. Muzgiz. I found an English-language copy in my college library. She analyzes late Scriabin tonally. She identifies the #9th and 13th as the tritone-related added tones that link harmonies. She calls them the v and w tones. Unfortunately I don't know any more about this now since that was back in the early 80s when I read this book. She did an extensive analysis of Sonta 8.
@@MusicByTomas RUclips accused me of spamming and have disabled my comments. I'm Pseudotonal and this is my other account. I think this is probably the book I read. Varvara Dernova's Garmoniia Skriabina : a translation and critical commentary Authors:Varvara Pavlovna Dernova, Roy J. Guenther Thesis, Dissertation, English, 1979 Edition:View all formats and editions Dissertation:Catholic University of America
I'm not done watching this vid yet so this might come up later but I remember one of Scriabin's waltzes (the f minor one I believe) having an incredibly bluesy section in the middle of it. RIP Scriabin you would've loved jazz
A thoroughly interesting examination of Scriabin’s jazzy premonitions plus a very ingenious fusion with Gershwin for dessert! As an untrained Scriabin devotee I found your presentation very enjoyable and enlightening.👍👍
This was a great presentation and had all the elements I’ve been thinking about. I’m a jazz player who plays some Scriabin and this really helped bring it into focus. Your abilities are superb in demonstrating your ideas. Congratulations on a very fine achievement.
Thank you for linking the historical context of classical and Jazz, this style of harmony was bread and butter of the late romantics and impressionists. Jazz gets way too much credit for harmonic innovations that were never theirs to begin with.
@@tj3482 So glad you enjoyed. I will say in the goal of this video was not to denigrate the harmonic creativity of jazz artists, but rather to lift up as deserving of recognition someone who likely independently came to the same conclusions. Scriabin was likely not that familiar to most jazz musicians, though Ravel and Debussy were certainly more so. The harmonic seeds of jazz were born in the late romantics and impressionists certainly, but they still needed to be further developed.
@@MusicByTomas I don't think Debussy was familiar jazz, as he died in 1918 before it became mainstream, I do belive he was acquainted with ragtime more so, but I could be wrong. Ravel was, but it was more in the rhymtic aspects of his music as well as some blues applications. My comment wasn't meant to denigrate Jazz, just to highlight that many early jazz artists were beginning to apply 20th century modernist harmonic concepts in their music. A lot of the early giants admitted to that influence, but so many today seem to ignore it purposefully or have forgotten about it.
@@MusicByTomas thank you, and I can't stress how much I love this video and how talented you are, from your improv or you seamlessly applying jazz concepts to classical pieces.
This is one of the best arguments for the harmony of the 4th sonata I've heard. I analyze the opening bars as an "obscured" tonic. The opening bar being an F#13 with a B in the bass to make it ungrounded, then V9 with the 7th in bass, etc... However, the 2-5-1 argument is going to make me rethink this in depth. I enjoyed this presentation alot.
@@flonzaley6092 Interesting. Not trying to nit pick, but I checked the score and didn't see what you meant! Could you give me a time stamp? I'm curious where I changed it, might have been without knowing, but I can't find it. s9.imslp.org/files/imglnks/usimg/6/62/IMSLP10496-Scriabin_-_Op.11.pdf
@@MusicByTomas My apologies, Tomas, you were right to pick me up on it! You changed nothing there, and I should have checked. I think I must have been thinking about the G major. So you were not wilful, I was careless. But in op 2 no 2 bar 12 the RH second note is A sharp, not A natural - the harmony is E major, but the tonality is still B! (3.46-3.47) Congratulations and best wishes on your work. If your university can find the very scarce Eterna LP (DDR) of Günter Phillips' improvisations, he had some improvisations which show a deep understanding of Scriabin equal to your own, which is very rare in such jazz impros on Scriabin!
@@flonzaley6092 thanks for the detailed comment, I hear what you're saying about the A-sharp, that's definitely an oversight on my part. I'll look into Gunter Philip, thanks again!
Thank you so much for this video!! I am playing the fourth sonata in concert tomorrow, and am ashamed to say I learned just now that his jazz-like music was developed independent of jazz... What a dream it is for it to be adapted by a jazz trio, in the fashion you do in your video!!
Remarkable. Please improve your tech/recording means.
What a fascinating video !
As a Scriabin and Jazz enthousiast, I was amazed by your comprehension of Scriabin's harmony. I knew you would select that 4th sonata ! Your overall selection was great and there are many more that sound jazzy (like the prelude op 37 n°3, op 48 n°2...) I find that amazing that you actually spotted some jazzy intricacies in such an early work as the little prelude. This shows how great of a musician you are.
Not only your lecture was so interesting but also your impros were OUTSTANDING, especially the last one.
You are truly a great musician.
Thank you for the thoughtful comments! Glad you enjoyed
Every great composer should just be as great as an improviser…
What fun! I'm a Scriabin fan who doesn't know a lot about Jazz, but you made a convincing argument! Thanks!
Love your Scriabin improv
When I studied Bebop harmony in grad school in the early 1980s I could see that Scriabin had already used that harmony. I had studied Scriabin and already understood much of his harmonic practice. I also found the Dernova book to be especially helpful in showing that Scriabin's music is tonal, not octotonic and not quartal and not atonal.
What is the dernova book?
@@MusicByTomas Dërnova, Varvara. 1968. Garmoniia Skryabina [Scriabin’s Harmony]. Muzgiz. I found an English-language copy in my college library. She analyzes late Scriabin tonally. She identifies the #9th and 13th as the tritone-related added tones that link harmonies. She calls them the v and w tones. Unfortunately I don't know any more about this now since that was back in the early 80s when I read this book. She did an extensive analysis of Sonta 8.
@@pseudotonal thanks for sharing
@@MusicByTomas RUclips accused me of spamming and have disabled my comments. I'm Pseudotonal and this is my other account. I think this is probably the book I read.
Varvara Dernova's Garmoniia Skriabina : a translation and critical commentary
Authors:Varvara Pavlovna Dernova, Roy J. Guenther
Thesis, Dissertation, English, 1979
Edition:View all formats and editions
Dissertation:Catholic University of America
Really well done!! 🎉
I want a full stride version of the op 11 no 5 prelude.
You're a fantastic improviser
Man, you're a superb, high skilled and it's inspireing to watch/listen🔔
Great video!!
thanks for checking it out!
I'm not done watching this vid yet so this might come up later but I remember one of Scriabin's waltzes (the f minor one I believe) having an incredibly bluesy section in the middle of it. RIP Scriabin you would've loved jazz
A thoroughly interesting examination of Scriabin’s jazzy premonitions plus a very ingenious fusion with Gershwin for dessert! As an untrained Scriabin devotee I found your presentation very enjoyable and enlightening.👍👍
Wow...brilliant video....thanks for this!!! Ending Gershwin was a trip!!🎉🎉🎉🎉🎉
This was a great presentation and had all the elements I’ve been thinking about. I’m a jazz player who plays some Scriabin and this really helped bring it into focus. Your abilities are superb in demonstrating your ideas. Congratulations on a very fine achievement.
Thank you Jerome!
Thank you for linking the historical context of classical and Jazz, this style of harmony was bread and butter of the late romantics and impressionists. Jazz gets way too much credit for harmonic innovations that were never theirs to begin with.
@@tj3482 So glad you enjoyed. I will say in the goal of this video was not to denigrate the harmonic creativity of jazz artists, but rather to lift up as deserving of recognition someone who likely independently came to the same conclusions. Scriabin was likely not that familiar to most jazz musicians, though Ravel and Debussy were certainly more so. The harmonic seeds of jazz were born in the late romantics and impressionists certainly, but they still needed to be further developed.
@@MusicByTomas I don't think Debussy was familiar jazz, as he died in 1918 before it became mainstream, I do belive he was acquainted with ragtime more so, but I could be wrong. Ravel was, but it was more in the rhymtic aspects of his music as well as some blues applications.
My comment wasn't meant to denigrate Jazz, just to highlight that many early jazz artists were beginning to apply 20th century modernist harmonic concepts in their music. A lot of the early giants admitted to that influence, but so many today seem to ignore it purposefully or have forgotten about it.
@@tj3482 well said.
@@MusicByTomas thank you, and I can't stress how much I love this video and how talented you are, from your improv or you seamlessly applying jazz concepts to classical pieces.
Thank you!
This is one of the best arguments for the harmony of the 4th sonata I've heard. I analyze the opening bars as an "obscured" tonic. The opening bar being an F#13 with a B in the bass to make it ungrounded, then V9 with the 7th in bass, etc... However, the 2-5-1 argument is going to make me rethink this in depth. I enjoyed this presentation alot.
Thanks for the thoughtful comment, so glad you found it insightful.
Outstanding presentation, despite the wilful altering of D maj prelude ending in op 11. Many insights - thank you for this!
So glad you enjoyed! Which alteration are you talking about, I don't remember changing something, but let me know if I did.
@@MusicByTomas Just the cadence at the end of D major op. 11. Only a little thing, it caught me by surprise.
@@flonzaley6092 Interesting. Not trying to nit pick, but I checked the score and didn't see what you meant! Could you give me a time stamp? I'm curious where I changed it, might have been without knowing, but I can't find it. s9.imslp.org/files/imglnks/usimg/6/62/IMSLP10496-Scriabin_-_Op.11.pdf
@@MusicByTomas My apologies, Tomas, you were right to pick me up on it! You changed nothing there, and I should have checked. I think I must have been thinking about the G major. So you were not wilful, I was careless. But in op 2 no 2 bar 12 the RH second note is A sharp, not A natural - the harmony is E major, but the tonality is still B! (3.46-3.47) Congratulations and best wishes on your work. If your university can find the very scarce Eterna LP (DDR) of Günter Phillips' improvisations, he had some improvisations which show a deep understanding of Scriabin equal to your own, which is very rare in such jazz impros on Scriabin!
@@flonzaley6092 thanks for the detailed comment, I hear what you're saying about the A-sharp, that's definitely an oversight on my part. I'll look into Gunter Philip, thanks again!
What was the stride piano song you played
At what point in the video? Do you have a timestamp?
Ain't misbehavin'
Great lecture!🌍
nice video , but in that prelude b major i thing there is a sharp..
Can you give me a timestamp?
@@MusicByTomas3:46
@@MichalDirer good catch, yes I got the wrong note there!
Thank you so much for this video!!
I am playing the fourth sonata in concert tomorrow, and am ashamed to say I learned just now that his jazz-like music was developed independent of jazz...
What a dream it is for it to be adapted by a jazz trio, in the fashion you do in your video!!
Thank you for tuning in, and good luck tomorrow!