Thanks! Yea the solfège really shows how he’s using the same scale degrees from the bass for the melody and transposing the harmony to bring about the same relationships in different areas!
I think the solfege really emphasizes how the piano sometimes held back Scriabin's writing, ironically enough. Here we have a gorgeous lyrical romantic melody that's obscured between the twin facts that 1) It's written in the upper register where the piano has little sustain and thus can't "sing", and 2) the general thickness of the writing plus the timbral homogeneity of the piano means that the counterpoint is somewhat obscured and the whole passage turns into a bunch of sensual mush. A sensitive performer and listener can bridge point 2 and but there's really no way to fix the issue of point 1 at a solo piano. Maybe Glenn Gould had a point when he said no composer's music more begged for electronic enhancement than Scriabin's music.
I’ve been thinking the same thing about electronic enhancement. I read an article recently that said “Scriabin’s professor of piano at the conservatory, Vasily Safanov, claimed that Scriabin already knew what the masters had known, i.e. “how to make the piano sound other than itself”; he believed the sounds he released from the piano to have been from the “astral world””. Given his experiments with the “tastiera per luce” for light accompaniments, I’m tempted to think he would have jumped at the chance to explore new timbres via technology.
Neat points! That register is difficult to sound cantabile! That’s so interesting Gould said that about Scriabin’s music! What do you think he meant by electronic enhancements? I know he did some special recordings of Scriabin where he used different pianos and overdubbing to really make the voices sound distinct.
Interesting as usual. I have to agree with the other commenters, I was suprised at how beautiful your singing is ! If I might enquire, what do you use to practice ? I sing Bach parts but my tone is atrocious...
I love your videos and the analysis was really interesting but your solfège was all over the place 😂 you were singing the same note and saying different stuff that made no sense but I applaud you for trying that 👏
Haha the solfege changes with the bass which is necessary in this sort of passage. Meaning when we’re doing the A chord, the solfege is based on A, and when the chord moves to F the solfege is based off F. Feel free to ask about a specific part of the excerpt if you have a question on the use of the syllables.
@jaybeardmusic8074 I'm a classical singer, so maybe that's why I don't understand your idea of "changing the solfège" based on what's in the bass. I also just discovered the music of Scriabin so I'm quite new with his harmonic mind. Would you care to explain ?
Sure. So I mention that this excerpt is like his late era which uses Scriabin’s unique type of atonality (I have a series on “Scriabin’s atonality” if you’re curious). In Scriabin’s atonality, there isn’t one fixed key center, and there isn’t no key center; instead the key center shifts as often as the bass shifts, and instead of major scale harmony being the norm, other harmony like mystic harmony is the new consonance. So in the beginning when A is in the bass, A is “do”. Then when the chord changes to F7, in no meaningful way are we still in A. At that point, F is “do”. When Db is in the bass, then Db is “do” and so on. By shifting the framework for each change in the bass, it reveals how Scriabin is emphasizing scale degrees “di-re” and “si-la”!
@@jaybeardmusic8074 wow thanks for enlightening me so much on Scriabin's unique atonality. That is so interesting ! Much love and keep doing what you do :))
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Wasn't expecting the solfège to be such a highlight, there. Sounds great.
Thanks! Yea the solfège really shows how he’s using the same scale degrees from the bass for the melody and transposing the harmony to bring about the same relationships in different areas!
Right like okayyyyy ahah
The solfege at the end is making me wish we had some songs from scriabin
Heck yea! So glad others appreciate solfege and singing Scriabin as much as I do!
I think the solfege really emphasizes how the piano sometimes held back Scriabin's writing, ironically enough. Here we have a gorgeous lyrical romantic melody that's obscured between the twin facts that 1) It's written in the upper register where the piano has little sustain and thus can't "sing", and 2) the general thickness of the writing plus the timbral homogeneity of the piano means that the counterpoint is somewhat obscured and the whole passage turns into a bunch of sensual mush. A sensitive performer and listener can bridge point 2 and but there's really no way to fix the issue of point 1 at a solo piano.
Maybe Glenn Gould had a point when he said no composer's music more begged for electronic enhancement than Scriabin's music.
I’ve been thinking the same thing about electronic enhancement. I read an article recently that said “Scriabin’s professor of piano at the conservatory, Vasily Safanov, claimed that Scriabin already knew what the masters had known, i.e. “how to make the piano sound other than itself”; he believed the sounds he released from the piano to have been from the “astral world””. Given his experiments with the “tastiera per luce” for light accompaniments, I’m tempted to think he would have jumped at the chance to explore new timbres via technology.
Neat points! That register is difficult to sound cantabile!
That’s so interesting Gould said that about Scriabin’s music! What do you think he meant by electronic enhancements? I know he did some special recordings of Scriabin where he used different pianos and overdubbing to really make the voices sound distinct.
The solfège at the end is so beautiful. Love this!
Every videos you upload are godsend, may the blessings be upon you!!!!
Thanks! So glad you appreciate it! Cheers!
Great video man
Very cool, thank you
Bro has an angelic voice! If only Scriabin wrote a song😭
Thanks so much! I’ll have to do more sing of Scriabin whenever the opportunity presents itself!
So much fun to see these videos! A poem satanique vid would be helpful. Your videos are very helpful and smart. Thanks for them!
Perfect timing, just started learning this. This section in particular, before the second theme was strange but the analysis helped make sense of it.
Sounds like jazz to me, the mystic altered dominant....
Where did you get that shirt?
Great content, congrats!
www.redbubble.com/i/t-shirt/Scriabin-Russian-Composer-by-ArtyMargit/23548393.1YYVU
Which books do you suggest to read and learn on how to compose like Scriabin?
Interesting as usual. I have to agree with the other commenters, I was suprised at how beautiful your singing is ! If I might enquire, what do you use to practice ? I sing Bach parts but my tone is atrocious...
Where did you get the tshirt from?!
I love your videos and the analysis was really interesting but your solfège was all over the place 😂 you were singing the same note and saying different stuff that made no sense but I applaud you for trying that 👏
Haha the solfege changes with the bass which is necessary in this sort of passage. Meaning when we’re doing the A chord, the solfege is based on A, and when the chord moves to F the solfege is based off F.
Feel free to ask about a specific part of the excerpt if you have a question on the use of the syllables.
@jaybeardmusic8074 I'm a classical singer, so maybe that's why I don't understand your idea of "changing the solfège" based on what's in the bass. I also just discovered the music of Scriabin so I'm quite new with his harmonic mind. Would you care to explain ?
Sure. So I mention that this excerpt is like his late era which uses Scriabin’s unique type of atonality (I have a series on “Scriabin’s atonality” if you’re curious).
In Scriabin’s atonality, there isn’t one fixed key center, and there isn’t no key center; instead the key center shifts as often as the bass shifts, and instead of major scale harmony being the norm, other harmony like mystic harmony is the new consonance.
So in the beginning when A is in the bass, A is “do”. Then when the chord changes to F7, in no meaningful way are we still in A. At that point, F is “do”. When Db is in the bass, then Db is “do” and so on.
By shifting the framework for each change in the bass, it reveals how Scriabin is emphasizing scale degrees “di-re” and “si-la”!
@@jaybeardmusic8074 wow thanks for enlightening me so much on Scriabin's unique atonality. That is so interesting ! Much love and keep doing what you do :))
Discordant 🙄