Escolar Documentos
Profissional Documentos
Cultura Documentos
by Roderick Shergold
A Thesis
Submi t ted to the
Faculty of Graduate Studies and Research
in Partial Fulfillment of the requirements
For the Degree of Master of Arts.
© Roderick Shergold
March 1993
Abstract for M.A. Thesis entitled
i Il ust ra t ions are an import ant feat ure of the various analy ses
les dimens ions hor i zonta les et ve rt lca l es du 1 anqêlge rnu:; j (:a 1
Dernova . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Kelkel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Octatonlcists . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . . . . . . . 31
Opus 71 no. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Opu s 73 no. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Opus 74 no. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
INTRODUCTION AND HISTORICAL PERSPECTIVE
Ibid. 1 p.128.
Needless to say, that subsequent Ineet i ng I)L'Ve r t 0~'''' pl.1 \~t', ,\
campos i t i on was due to the fact_ t ha t, when thE' .'id U:l l llh'IllI'll t
was, Scriabin died with hiS composj tlonal seclet s, (Incl i t \'J.I';
discover, among other aspects of his mUS1C, LIll' Ol9dlll .'dt J()Il
popular i ty, yet the enormous a t tent ion that was f o<;usf·d un Il 1:.
Ibid., p.129.
The one not able e:-:cept ion was Bole s lav YaVOl ',k 'l, d J 'H (If' 1 /
unpubl15hed theor1st whose work, WhlCh [(JIIW·,J tJJf' !uJ',j',
of Varvara Dernova' s concepts (diL,(:ur;~(,rj LI,Jr)'d), 'Ill"
until relatively recently, c0mr.,}(~tel'j unr.nr"/vJlJ (JIll ' , ! d l ' ',/
the S 0 V let Un l 0 n . A t r ct n s la Ll () ri G[ fi 1 '-; t fi "-..- rJI if", l ' , fi') '"
available thrGugh the work of Gord')11 r1,.r)lj(~rr: (',f:f'
bibliography) .
6
Ibid, p. 101 ff. Bowers relates detënl-:: r)! :;, r l dLi f i ' 'f
funeral and the 1mmediate J1Tlpéict his rjr·at.h hdrJ rJrl 1 h"~
cultural life of Russ1a. " His funeréJl wa~, thr... [II'J';I
fa shi on able event ln Moscow in years ... Pac hman i fi r,J 'J 'tIa '; ;J
pallbearer ... endless nurnber of wre.':lthr;,.,ff,r '1If:f.'}:'> th':
4
etc. 1 that ini tiall y recei ved such widespread attent ion. This
work. U
that time, both internat lonally and domest lca lly (~VL""\1 Id W.:'ll
generated had those event s not have taken plat'l'. By 1 11 l' ! lllll'
years leading up to World War II, mus Le thec·r i sI ~~ i III l'Il'!;! t'cl
second Viennese school (in Europe and North Amer i CJ) • UIlI':>
analyzE:: the pitch organizat ion in SCf 1 (j[,lfJ' <~ fil Il:-~ i (' .
Ironically, her book in its original forrn Wd~, (;r>lnrJII>! (~d 111
to Yuri Tyulin, her former teacher wh:) Wfr)\(· t Iv- f r,p'vi1d d 111
her book, "it was judged at that Ume as ftd'J i ll'J a ! 'JJ'1 f (JI
9
Paul Dickenmann, Dle EntwIcklung d'::!r J!'-Hr~l'.)rIJY. Lf'J h.
Skrjabin (Bern: P. Haupt, 1935).
could have easi ly been arranged, the two men never met to
!!
Guenther, p.23
See fIJotnote 5.
: . Bowers, p.140 .
•4
Mu=yka (1915, no.220), pp.273-279. See Guenther, p.45.
:~
See Guenther, p.47.
7
organization.
In the last ten years, there has been growing interest in
investigating the pitch structure in the later Scriabin
George Perle 2s have aIl published articles demonst r.::lt illq t1w
used in the preludes op. 74, from the point of view of simple
lb
It would certainly be amiss of me at this point if l
neglected ta mention the recent publication of James
Baker's The Music of Alexand~r Scriabin (see
bibl iography). ThIS book focuses primarily on Scriabin' s
transitional compositions (opus 45 - Prometheus op. 60,
when the music was evolv~ng increasingly away from being
obviously Lonal), aithough Baker aiso dlscusses in sorne
detaII the 4th and the 10th sonat:iS (op.30 and 70). This
very comprehenslve study advocates the use of Set-Theory
techniCIues in analyzing Scriabin' s later works, which
Baker be L ieves to be fundal'entally atonal.
1l
Most contemporary t ;1eor i sts, Inc l Udl ng the dut hors Cl ( t th-'
Sonata, that
The ton ic cont j nued to e:d st, and, if- rl(-~ce::;';d ry t hr.
composer could l?mploy IL ... bUl ln LfI';: '-Jrl'dL I!IdJ(H JI ï (Jf
cases, he prefer red the conc~pt 0 f ct tC,IJ 1 (_ J n d J', ,_ dlJl
perspectIve, so tG speak, réithE:'r lhdli t hl: ,H t Ilril 1'1
sou n d l n g ton l c:. . . T h (.; rel Ct t l f.J fl ~; fi J F' rj [ ! rjI- • : ' .) III ( , il l ' j
dominant fUflct10LS in ~~kr'jdbllJ' c; 'l'It.d k l', (hrjfJIJI,rj
radically; for the domlnant éictuaJJy dfJf.J(-rtr'; dIJd hd':. cl
varied structure, whlle the tonie 0:-:l'-)t S (.Jnly (j', l f ln
the imagination of the composer, thr: pr--:!rfrJrrnF:r, dIld
7
2 • Herndon, p. 354 .
12
28
th!': listener.
connect the end of one phrase to the start of the next one, or
,'Il
Guenther, p. 171.
13
very clearly 'in (sorne kind of) F sharp.' On olher OCCd'3 ions
identity.
related, and still other notes are clearly foreign and outsLdr;
29
In an uncharacteristlcally illogieal far~(:l r.J[ her tlJ(~c)rï,
Dernova asserts that, even though thé mUSl'; '.if :;r;rldbJn
is tonal and there eXlsts a strong hierarchy among thé
various pitch classes, in Sr:::riabin's musi(;al JawJuélg(~
there are no nonharmonlc tones. Th1 si', 'j} '/.u':sr,"j i r: mou-
detall below.
14
analyses.
30
~€ise, pp.220,223,226,23l.
31
Perle, p.lOS.
32
Kelkel, Livre III, p.17. Here KelkGl i8 é.lctlJally quoLing
certain principles laid down by th(~ thr:(..Ifl',l l:l(:!TIf'II',
Cnristoph von Gleich concerning the harmr)[j 1 c J i'.lrl'-lll,j'F' J fi
Prome! heus.
Clemens Chrlstoph von Glelch, 018 81 [,f(-,n J ',chf: W(-r y'f' 'Jr'[1
Alexander Skryabin (Bi l thoven: A. B. Cr (~j(jh +.. UIJ, l (j b on ,
p. 69.
33
Ibid., p.49.
34
Guenther, p.281.
16
Ioglc ln this matter. As Guenther points out when referring
to thlS sl~tement:
The prob~ern lies in the fact that when Dernova analyzed melody
in Sc r iabj n, she labelled the var ious notes showing thei r
intervalllc relati'Jn ta the root of the principal chord.
Thjs, of course, is a perfectly acceptable analytical
Ibid., p.280.
Jh
Ibid~, pp.286,296.
17
DERNOVA
using dominant 7th chords with the addition of the 13th, the
Taluskln, pp.146-148.
Il
Vers la Flamme op.72, though not dealt with by Dernova in
this legard, lS something of an exception ln that lt does
not finish with a dominant sonority. The final chard is
actuallya major-major 7th. with #11 and 13 added.
19
r trichords, when combined, add only one new note (the 3rd and
7th of one chord being enharmonically equivalent to the 7ttl
and 3rd of the other), and the resul t ing sonon t y can bl'
understood as being equivalent to a dominant 7th chord (wl.th
f lat 5th) or, alternat i vely, a French 6th ehord. (Ex. 1)
Ex. 1
--
.IL
"""'"
•.. Il C2 .- li
yr
11'.-
1
~
~J ~
~ tJ " 1
I
D~
~J ,J-
-..
L"IIL. C7
~
C'!I..
••
~
1
Je ....
~~
.1
"' 1
1
C: vI. _ l l
the observation that any one tritone can resolve elther
inwards or outwards. The two resulting resolution sonorities
are a major 3rd and a minor 6th; the minor 6th inverts to a
major 3rd at the distance of a tritone from the other
resolving major 3rd. (Ex.3)
20
( Ex. 3
The next stage for Dernova was to add, to the tritone nucleus,
42
. Guenther, "Varvara Dernova' 5 System of Analysis of the
Music of Skryabin," pp.182-183.
Ex. 4 Ex.5
PA 06
and the .5th and the resulting sonority could be described as
a dominant 9th chord with a raised and lowered 5th. (Ex. 5)
This is of course a whole-tone chord and is invariant with
respect to pitch class, not only at the tritone, but also at
successive whole-tone transpositions. From this she derived
the harmonie progression of movement - either up or down - by
major 3rd (or major 2nd). The tritone links rnove up or down
in major 2nds. The connection from the DB of one link to the
DA of the next link is down or up a major 3rd. This
progression, after root movement by tritone, is the next most
important harmonie progression which she called the "major
Ex.6,7, and 8,
show root move-
ment only. The 1
9
J~
ft
7J
5;
:&
t0
tt
~ , ~
chord in Ex.5
oceurs over
every root.
~~ "
~ 0
150
d
'--.
bn
e----JI
----...
:tt ~-- -
~=r
~ '---..J ~ ~
I~ ,.
Ex. 7
1
e
,. e
b~
• '-----.J L--..J
,.~
~
/pf
9
~e
e 8
~ ~ ~
14 e $9 ie ~ o~~ bo
C2 fi
, bo ~ lJ b~
, ~ ~
1
oc. .
I~ 0 io
" It>
id E>
e
CZ
ri
jo
if i2
" l
~
0
~ ~ '--.1 ~ '----.J
~
23
( Firstly, the .5th in DA became natural 5th generating a
dominant 9th chord with both a perfect 5th and a fIat 5th.
manipulation. (Ex.10)
Ex. 9 Ex. 10
generating the fIat 10th or minor 3rd in DB. (Ex. 11) The fact,
that this minor 3rd would conflict with the leading tone and
treat this part icular man ipulat ion wi th specia 1 at tent i on. In
the added 6th (or 13th) is labelled v and the minor 3rd 15
in DA. (Ex.12)
Ex. Il Ex. 12
....
'\
)
-
tJ
-
J,Lbll
t1
=
Q
Ci
--
p~
k
-
t!J
..
_
I<ELI<EL
to cover too mueh mater ial . This might have been apparent
the more extensive poem Vers la Flamme op.72, the sonatas nos.
7, 8, 9, and 10 (op. 64, 66, 68, and 70), together with many
with the 5th omitted and the 9th, #l1th, and 13th added. He
chord. The 1st inversion has the '4 in the bass, the 2nd
irlversion has the b7 in the bass, and the 3rd inversion has
the 3rd of the chord in the bass. (This is an aspect ûf
Kelkel's theory that is, l believe, extremely significant and
is certainly central to my analyses of Scriabin.)
Ex. 16
~ 4- -e-
...
..
-
-.
16 ~
~ "'A --- ~ ftM
--
..
LIl or ...
"iLV_
JZ
.... ....L
.Li
..... ..
.li D
~
~
bo ~ -f.?r -e -- f-f-
~.
•• JI -"""" Il .-
.- -
-~~
--
- .....
Ir ... M'V
--' ...t;;;.L ..... .L!t.
.. -
Of
var iat ions in the fi rst stage; two cor responding seven-not~
Ex.l8
Ex. 19
\
k., ...." T L_
',) - .....
- ., CI tJ +PO ~o '"
Of )~i ~.. ~ 0
"1>
root, b9, '9, 3, 14, 5, 13, and b7; scale degrees wlthout a
,
Ex. 20
~bo #0 e .0 ! ,~ l2 Jtt f
Ex. 21
t ~
0 ~:-:t~ 0 EJ Je 19 e l
-;
Ex. 22
...,...
i ~
Cf 6 M" e I~ d i~ t
At the flfth and fInal stage, a ten-note scale is generated by
THE OCTATONICISTS
the convenience of us ing the one label, when di scuss inq the i r
perspect ives on the late Scr iabin compos i t ions, oulwC:' i 9 hed
scholars. 1 trust that the term is not perc("~ iV(~d j n dny Wrly
to be derogatory.
semitones. It divides the octave Into four equal f.J':Ht,": drjd i~~
would start with the pattern - root, b9, #9, 3, etc., from the
octatonic scale. (All except the 13t h are in Lhe who 1 ('-1 OrH~:
(or V7b5) , which is of course contained in boLh th~ whc. J (!-I ()[l('
works the harmony can be ana lyzed fr0rn the: I,(:f'.P(·'- t_ l 'J(' (~t
46
Reise CItes examples from ChOplfl and Ll<.ZL, !J.i;UL
Nonha rmr.J;J l C tones (1. e., notes not inc l uded ln the spec i fic
sca l~) '1[(:: always carefully resolved by step, back into the
s Ign if l CêlIlt l y long t irne per iod. Spec i fic exarnples of these
no .1.
maintalns that the two notes in the oetatonic scale that share
the same letter name mark the boundaries of the scale, i.e.,
the first and the last as opposed to the fourth and the fifth
D, Eb, F, Gb, Ab, Bbb, Cb. Perle also rnaintains that the
the composer used. (To give just one example - the repeated
pitch A in measures 3 and 4 of op.74 nO.l becomes a Iep0~L~d
Bbb in measures 5 and 6 - see Ez. 24. ) UpU[j 1IlV(-jsLl (3d'- 1 (JfJ
octatonic perspective.
The :nain reason for this dIssatlsfactlon 1 .J
" t hd!.
th~ pOInt where the A becomes Ebb) , the whole piece is based
let ter name marks the boundaries of the scale, produces the
previolls scale.
Perle, p.106.
38
-
---
-----.
,~ *' 7
-
\~3~Ç!1f~·j1E---=:::~~~Ü*.~~~~
(~'i,c~~~4~=~~~--:-::ti~~~~~~-~~~~ê~
App = Appoggiatura P = Passing tone N = Neighbour tone
With the exception of the two measures partitioned by the
diagonal lines, the non harmonie tones are always D, F, GI,
and B, or their enharmonie equivalents. Within the two
exceptional measures, the non harmonie tones are CI, E, G, and
A', or enharmonie equivalents.
~I
39
Dernova' s fundamental tritone link (see ex. 10, 12, and 13)
'compound bass'" occurs much more as the except ion rather than
harmony unfolds.
il t?
-
R1. "5 ISTl~V
(y, '"
was not that far removed from Dernova's tritone link (Ex.25).
the same notes; both are s lx-note chords and the only rea l
as the bass simply moving to the tri tone and thereby expanding
down (or up) to the 5th (or 3rd) of the chord before returning
D. In the second measure the bass moves down ta the #'1 (lst
5C
Guenther, Varvara Dernor/a's "Garmofllla SkrlaLind", f-'fi.')(jf)
-517 .
51
Guenther, "Varvara Dernova's Syst(~rrt (. Ji !\f,éll/S1S (Jf th(~
Music of Skryabin," pp.201-209.
52
Guenther, Varvara Dernova's "Garmoniia :--';krJatJlna", rJrJ./8~/,
289.
42
Ex. 26 Op.71 nO.2
el
- 1
JI
1 *'~
1 ~~
==
•
~*~* •
1
1
2~
~ ~,_ _ -J 1 *,~~~J7#-~ r
q ,
" -t-- "~~ ~
---
Dernova/
Guentper' s
Tritone Llnk l# 6 1
9
Perspective
Single
Fundamental
2: ,~
.
-1,2----.......1-1
L- ___------------~-
L...-
Harmony
Root Pos. Ist Inv. Root Pos.
2: e 18~
Dernova's
19
~
Tritone e e
Link ~I
'-----.J
Perspect ive
.,
,:8 ft
l'
«;
Single
Funda-
2:&: ~~
(!i)
mental
Harmony Rt. lst. Rt. lst. Rt. lst. Rt. 1 st.
53
The D# that occurs ln the bass clef ln the secona n~lt ~f
the flrst two measures would pernaps ada more w01g~t t0
my theory If It was spelled as an Eb. Whlle LrdS lS
perhaps t rue, i t 1S of interest to observe t ha t t h(~ DH
actually continues the quartaI spel11ng one stage furthE!f
- Ft B, Eb, A, Di.
44
ignored.
French si:-.th, (or dlminlshed 7th, or, for that matter, either
The remaining six matrix members (discussed bl'" low) rnap i nto
54
A discussion of numerical notation, i.e., 9 versus 2, 11
versus 6, etc., follows in the next S~;C;tl0f1.
55
A cursory glance at EX.26 and 27 reveals thê.lL aIl {Jf th0r~(.
chord tones are present élbove the gi'J'-!fl r0(JLs - 1-1 ([rJI
Ex.26), and F, movlng to Ab in the 2nd h;;:df of m(:rJ',UII" -;
(for Ex.27) - in just those two fragrnr:ntr::.
46
ma Jor 7lh above a gi ven root. S6 These are the two notes that
V7b5) sonority.
the final chords of the various pieces that comprise op. 71-74.
theoret l C;ll reso 1 ut ion (perfect 4th and ma Jor 7th above the
the minor 3rd (her label - w) above the root. (1':;-:.11 dfld 17)
occasionally resolve up to the maJor -jrd, or dC)WII t ,-) tljl' Hld l'il
57
In harmonically less complex mUSlC, lflr.o> Sdfll(~ L'If.)" 'Jf
situation can, of course, occur - a chord tr.,Jflf! p(J~;r~lbJy
functioning as a passing tone in él part lr::U l ar cc;nL,·yt .
58
Guenther, Varvara Dernovéi's "Garmonjjéi ;~y.rldtJlfld", p.l()/.
Ibid., pp.109-lll.
48
Ex. 28
...-----
. --
Ex. 29
-. -
• C •
-- - r
60
Ta rus kl n , pp. l 5 0 - 1 5 l .
49
( tone is found in the upper neighbour of the 7th of a
diminished 7th chord. The P to '6 leading to 5 melodic
motion supported by 17 leading te 1 (Ex.30) is dealt with in
a well-known harmony textbook. 61 One example of this melodic
.. -.. fi =_;;
A/1'1 •.,. r
iftrI!! ..,
1
9 d e 'Q' ~ b •
62
See Ex. 6, 7, and 8, and accompanying text.
51
quarta lly spelled, French sixth sonor i ty pl us th(::! 13Lh éJfJrj the
9th. The fi rst var iat i0n - even in P rorneLIlf.!us - U'~(:" tflr;
the 5th. By taking the basic "accord synth f.:ti r-1Ij'--:" (rrjIJt, Il'1,
52
b7, 3, 13, and 9), and including either one of the two early
chord, but with the three other upper matrix members (#9, #5,
and either 5 or b9), depending on which of the two variations
in.
11 1 1
, .-l " li r; ~-
tJ - . ~
ott
tJ
~ ee ---I._
.. "0 ~o )0
..
Po bo l b"
--
,,- v-
into any other matri~, are made apparent through each part's
indlvidual relatlonship with the designated root.
55
NOTATION IN CHARTS
of the fourths spacing (as weIl as the #4 being the bass nole
above the bass - would indicate that the other poss ib 1(-. l ahpJ ,
the root.
l ater Scr iabin eomposi t ions, thi s mat r ix member oeeurs most
appropriate than 6. (In the same way, the various 9ths would
the mUSlC.
(b Il) above a root. Ser i abin' s spell ing of this chord t one
is felt that, like the root, the #4, and the 7, the numbet' 3
should not be used to label any matrix member apart from lhe
matrix member.
4 and #7 The two pitch classes that are outside the ten-note
harmonie matrix are the notes that occur a perfect 4th and a
64
As was indicated above, blO lS, perhaps, l,hl' lnry~l u,rr(·r.:L
label from a theoretlcal persp"?ctiv r=, havlnr..) il', (Jr jrjJlI
in the use of scale degree _7 over domJ nant harrn(jflY 1 fi a
min 0 r k e y - the t h i rd 0 f wh l c h l S ,of c. (; ur'.:; f~ , t h (= 1(. ;1 rj i fi rJ
tone or ral sed scale degree 7. (see eh. 3ü arld 31)
58
hori zont Cl l dot ted l ines lndicat ing that these particular
omitted.
number of times.
ta partieul ar mat rix mernbers indieates tha t they occu r.- (-l il he r
only the first time through the chart (x), or onl y '.111 the
always circled, indicating that they are Dot part of l he' 1 ('11-
measure numbers, are indicated. The eurved ph r as(' ma r J.: '; dbov('
OPUS 71 NO. 2
the wark appears ta be divided into two parts (at meas. 12 and
mus i ca l t e:-:t u.re occurs, the bass has act ually dissipated,
!
, 1
,.,, ,
• 1
• ,., . ..
'",
':! ' =7 :, 7~
,
..
..;....- .
4ft ,
/
...
•
f
.-...
1ft
:
1
• 1
-••.,
1.,.. _'. '
,, ,
•
i
•
'" 1
1
N- •
1
-r
•
/ .=
.1
.., • ca ..
, ,
• •,..
:;:
1
-- •
,, ,
1 1
, , 1
• 1
•
- 1
•
:, :,.,
'\'
,
1
:
1
1
'/~
-40
l,
• "
l
,
l
'
,
"'-.
• , 1
1 1
,
:
'\ i ' --
1
\: "~
"\
"-
•
\
1
1 -
'" -.
, pt,.. i --
.. po. .... lM U
- - - - - - --"l'
62
the movement up to the 0 (R) lS even faster, or;c..:urr Inrj ')[1 LrJ('
fin a l eighth note of the measure, and the mot ive 1 t 81,,1 f J ,;
measu re 10, and the 4ths G/C (9 and 5) in measure 11. These
(#4, R, #4), for each of the three measures (9-11), and the A
- Eb - Db (b 9, 7, # 5) .
Indlcate.
65
This complete sect10n of music (meas.12-18), is composed
chord (1st beat of meas. 16). This second measure of the t wo-
repeated three times. The first time at the or 19i liaI pi Ldl,
equi valent ad ]ustment ln the bass /7/3 arpegg j 0 occu rs, d Ild 1 Ile'
resol ut ion chord is omi t ted. Thi s repeated phras r·! :,; j!llfJ J Y
leads directly into the start of the second haJ f of UH' [K)f·fIl.
sixth chord spelled in 4ths, this secti{J[1 'tI'~IJl,j ',(:1'11, 1·, LI'
this work.
EX.35
t-
~
7
- ,.~ - - - ,. - - -- --
... ~~ ..
- -- - --It- -- -- It·-
• toi t.
From the point of view of harmonie progression, the
same harmony, and the root does not suddenly change from F to
67
(measure 12). After set t l ing back down ta G (9), 1 Il\:"' 1 ltlt'
(meas.17,18) is merell' preparing for lhé strHt. ',if t hr. ',1" '!lld
hal f . Wi thln thi s ove ra Il conte.-:l, the Openlfl(j f 1 VI~ rW'rJ ',IH f '~J
whiCh, after a brief, perhaps more focused, [(;r..-r:l i t i (>[1 'JI t hl:
descent) .
into a chord that contains both the #9 and b9. The two 9' s of
measures of opus 71 no. 2 (ex. 34) wou Id ind i caLe lm!1lt'd 1 d! ('1 Y
would occur only as nonha rmon l c tOfles. Al t ht)IJ',fh fJI,fJI' 'J j 1 h('
65
The two other octatonic collect10n~, USl IjrJ IflrJt r j / liI':IrifJ('r
notation, are b9,9,3,4,S,#S,I,#/, rjfJeJ
9, #9,4, #4, #5,13, #7, R.
70
ton(-: CI) ·
l 1 8ctlon, opus 69 1
no., as Re i sep 0 in t sou t, 66 is
OPUS 73 NO. 1
mus i ca l mater i al. (See ex. 36 and appendlx 2.) The f irst of
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73
notes. After cornmenc lng in the ext reme UPPl' r r 0g i st et, t 11(-'
#4. The two-measure idea is then repeé.lted, Lu! '~J j th t TI(' (j',a 1
67
In measures 8 - 12, lt actually descends Ci H1étJor r.Jl_h. Ifl
the subsequent reoccurrences of trlls ff1r:Jtr:;-!lélJ j[J '-hiC"
composltion, the descent is usually ext~nd(~rj te) il Inlfl()[
10th.
74
the bass moves down briefly to the new #4, the entire lower
the ne;-{t sect ion. This whole third block of musical material
31.
7---
3----
7- - - - - - 7 - - -
,--------
--"'-5 - --'\"-
- L________________ ~t~. ____________________________________ ~
R
43
837
76
detractIrJrJ From the basic .tinary structure of this dance, it
was CÜfLS l ('j~red more advant ageous to show thl s al ternat ive
verSion sepdrately.
this ddl1ce, tries to ]ustify the presence of the vad ous non--
t 0 ~,t10\',' t bd t thi s whole compos i tion can be under stood f rom the
resolves (an octave hlgher and a measure later) into lhe Sb;
our aurai perception and theoret ical underst andi ng. Morp.
realisation that this 'dissonanclô" can easlly b(~ afin J '1!.('d c.J~,
cornes the realisatlon that the B' sand F' '; t hdt (j(" Il[ j Tl
occurrences of #5 and 9.
68
Reise, pp.227 - 228.
78
structure: maJor 3rd up, major 3rd up, minor 3rd up, minor 3rd
up, minor 3rd down and major 3rd Up.69 This structure is
measures is, in rea li ty, not tha t far removed f rom rny own
perspeet l ve: a sequent ial repet i t ion over ci pedéJ J UII!J 1 1 (·'3 cl
Although there are many other aspects (J[ (JUl r J étIl(j(-:', t hdt
70
Guenther, V-..lrvara Dernova's "Garrnordla ~)y.rlablrla", I.).~()-~.
80
three notes of the initlal melodic idea have the intervallic
very same motivic cell at the same pitch level as the last
the strong beat. (In the linking passage this metric pattern
2 are presented.
Opus 74 No. 2
musette. (Ex. 38 and Appendix 3) The main me] odi(' Illdt (-'r ial
register.
71
Bowers, The New Scr labln, p. 145, AIs 0 Gu (; fi t h ~ r, " ï d r 'J iJ ra
Dernova's Garmoniia Skriabina", p 53.
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83
new root (G#) at these places is quite evjdent-; the SUppllT t iIlq
are the matrix rnembers R, 5, #4, and b9. The ~ and hl) .1((', (Jf
course, perfectly legitimate chord tones, bllt, li} t [If> }'(f'V 11)11';
examples ezamlned ln this thesis, they wI. . uJd (jr;CIJr III 1 h"
upper regIsrer of the harmonic fIeld. J fi t l'} l " 'tI' J r Y., l, ,1 1 l '1 t) 1)
12 measu [es bef ore ret urning, ln measure 15, to the opening
ba re 5th. Where the root changes to G#, the 5th, #4, and b9
[rom F#/C# to C/G, together with the fact that the root to #4
movem0l1l .
mel anchol y ph!.'Jse mov ing 1 after the initial quarter note,
85
( # 9), the n a ton e (b 9) 1 the n th r e e suc ces s ive sem i t 0 rll~ s (R,
time supported, not by the bare 5th but by the ostinaLo/d! (lne,
inner line now moves mostly in sixteenth notes and withollL é1ny
interruption by rests, meandering within a narrow range (a ·1th
72
Actually an augmenr:ed 2nd. SCrlabln", sfJl-:lllfl'j lfl 'hl',
pndude lS somewhat eccentrlC. A C~ Hl rnr'rJ<,lJr(; l, d', vlf:l]
as ~!l the rlght (,and chromatic ]lne Jn IW~rJr,urr; -j, v/()lJld
certalnly appE::'ar tü DI:: a more l rJCJlca 1 (;hr,l ';(~, f r {Jlfl t hr"
perspective uf f-~ase of notatlr)Tl for thc:.' I..I r: ! f'Jrrn(~r, tfldfJ
the B#. Yet in the 0stlnat:.o Dé:lSS, :~r;rl.:Ü)J[1 r/)fl~,1~,t(:rJ11'l
uses a cL where the B# (as #4) '{/{JIJ1~J IJ{..IrTlidll'i Lr· thc'
custl:.,mary notatlonal ch01ce [or t_h~~ '_(JHlp()':.I~r, {!':[JI'(_J,j]]Y
ln that regl.ster.
86
5 and 6; this time, however, the main melodie idea has been
pitch level. (If it was not for the fact that the first note
higher. )
here the root changes and the harmony fluetuates up and down
interval is re-articulated.
highest note of complete piece occurs in thf:' sec ond (lf t h()s(!
statements and this note actua Il y occur s al t hr' (·;·:a cl li.! 1 f -wa y
this is, of course, the bass line. This prelude is, however,
untypical ln that the bass l ine does not simply articulate the
root and # 4 of the prevai Ilng harmonies, but, in one sect ion
lransp(\~'t.c>d A sect ion (the two measures starting with the pick-
'j
St."l',d s,-' E~. 24 and accompanying text for a discussion of
the 0ctdtonicism ln this prelude.
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91
up l0 mr~é:lC;. Il) then reoc:curs (pick-up to 13), and a final
trans fer rf:,rj down an oct ave and wi th the "resolut ion" of the 13
speei fic spac ing of the harmonic struct ure beneath the
st ruet ural ve rt ica l sonor i ty has the rnost di ssonant minor 9th
chard l11t.... mb(.;>r. (eg., in the opening chord - the E# [#7 top
the last er:ample (c f. meas. 3) - the E ('! top vo i ce·) d<jd l fiS!
however, that the most sonorous spac ing that the cOlTlposer
against the root, but, apart from this exception, the mlnor
rule, for the rnost sonorous spacing, 7 l s élvoi d,:,j abr)')I' J ~, 1'5
because of the tri t one equi valence inheren t:. j fi ;;(~ r ] al'., 1 ni,;
93
present Inq sorne poss ible amblgui t ies as to the overall concept
(R) with a Gb (7), wh1ch then moves down a minor 3rd to Eb (5)
measure 6, the top voice maves for the first time by leap
mot ion cou Id, pet-haps, be understood as being derived from the
14
Jazz c0mposers and commercial arrangers have always been
c011sciou5 of the partlcular dissonance created by the
mi nor 9th. The avoidance of this interval against a
me l od)' note is one of the basic rules ln this type of
wrltlng.
94
as Perle suggests (see footnote 49), is much bel ter under !';Lund
the B~, which ascends lo an E (in the sarn'-:, lIlaLn(:r 'hr: 1111 t 1 d 1
con vent i ond l mus i cal i nt roduct ion. The in i tia l struct urally
'~
Hugh MacDonald, "Skryabin' s Conquest of Time," in Alexander
Sknabin, edi-::'ed by Otto Kolleritsch (Graz: Universal
EditIon, 1980), p.64.
co fi \.: e r n i n 9 0 pus 7 4 no. 2, Sc ria b i n ex cl.) l m(> d , " S t? t' Il,") w \ III "
s ho r t 1-' 1. e l u des 0 und s a s if l t las t san ~'11 t 1 r-t._, l ' t ' [l t \11 Y.'
noticeable that the final chord leads very conv l nc ing l y i Ilto
contrapuntal l ink f rom the end to the bé9J [HI 1119. ('l'hr· /) -[, /1 -
'-; t a r l , r.
d'li '1/ a rd fin i s h , and 0 ver a Il s h ct pe w ~ th i t s var i 0 us
rnÎ~ l orl j (_ / hrj rrnon l C goa l '3, pe rhaps has di f feren t boundaries (or
for the listener. This, though, would have been too blatant,
.. . all eternity."/H
Conclusion
more complex and, élt the same tlme, lI1CreaSlrlg1y stdLk, tlll'
that thi~ analytical tool should be useful, flot jUDt" d'. (j way
his work, but should also refleet elosely the 11 ~JLr'nc~r' '. dur ,ll
pereept lon of a performance 0 f the mus i c. Th(:, '.la r ]()1j '; r;!Jd r L;
conjunction with both a copy of the score and! r.:(;r.JrdJ [l'] ,)i t hr,
99
Hu 11 , A . Ea 9 le fie l d . ~A:--.::;:G.!:.r.:;.e.::::ac.::t,--~R~u.:::s.::::s..::i:..:a::.;n~..:Tc.::o::.=.n.!..:e=--c.::Pc.::o~e:..:t:....:..:_.::S~c::..::r=-l:::.·.::::a~b;..;:i=n .
London: Headley Brothers, 1921.
Swan, Al fred J. Scr iabin . London: John Lane t rw Rot 1l'Y lit 'dd
Ltd., 1923. Repr lnted Connect icut: Greenwood P re';~;, l 9/0.
r~ .~I ••
_ _ _ _ _~_ _ _ _ _ _ ...
~
Op
_~
71 " ~
CD
...•
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, ......
-F~
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Appendix 1 cont.
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~.
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- --
Appendix 2
Guirlandes 0,711'1"
Avec une grâce lolnguissinte
•
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1
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ritard.
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~ accel.
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~
Appendix 2 cont.
nt
2 cont.
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Appendix 3
Op 74 Sr ~
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Appendix 4
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