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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!

Scriabin Sonata 3 mvmt 4 is his sonata movement which I like the least. The practice of repeating a soft theme intensely in the climax is executed better in Symphony 3 (Divin Poeme) because the thematic material is more pleasant in the final movement of the symphony. I find the "Theme 1" of the fourth movement of sonata 3 to be the most cacophonous theme which Scriabin ever wrote. And it's cool how the mvmt 3 theme was able to make a comeback, but honestly it sounds kind of forced and it clashes with the crazy mvmt 4 theme (no cohesion). The mvmt 3 theme as played in mvmt 4 covers 3 measures where the same thematic material covered a single measure in mvmt 3. This means that 6 measures are needed to repeat the basic rhythmic motif of movement 3 (I bring up the rhythmic motif instead of the theme in its entirety because the theme of movement 3 isn't even played entirely in the climax). But the rhythmic motif of the mvmt 4 theme is based on sets of 2 measures, not 6. And this theme is started on the third measure (not including the leading measure of course, which should be thought of as such because of the leading beat of the theme in mvmt 3) of the recap of mvmt 3 theme. This leaves 3 measures for a rhythmic motif which is based on groups of 2 measures. Sounds lopsided and my mind can't get used to it no matter how many times I listen to it.

Yes!!!!! Please do his poem satanique I need ur analysis😭😭😭

I love your videos

Love the analysis of the 4th movement, however I am surprised you dislike the first! Sure, it's quite bangy with all of those octaves from the first theme, but the second theme is one of my favorites from Scriabin.

I have missed your Scriabin sonata analyses, this was educational! :)

1:02 he came with that chord by somehow listening to overtones, if i recall proprely. But no one indeed knows exactly Tbh he was pretty open about showing his work and pieces in progress. Although to only close friends. L.Sabaneev had plenty memories on how Scriabin viewed his process of composing in his books about him in Scriabin's late period. Exciting stuff to read

Arnold Schoenberg correctly pointed out that 'atonal' actually means "without tone."

It is not atonal.

1:01 is 11 #13

I have to say that Moonchild’s use of incredible and original chord progressions is pretty much the best in “pop“ music since Steely Dan. I wish I could say the same for their melodic invention. It seems somewhat arbitrary, like a lot of contemporary pop - melodies are not crafted with the care they used to be, but seem to be more about what the “improvisatory sung” line produces. Love the sound of her voice, but it’s almost as if Katy Perry or Taylor Swift suddenly got an amazing backing band, and didn’t know what to do with it. Someone, if not her, needs to write some melodies. They need to be aware of the interval collections within their incredible harmonies, and especially use the more disjunct fifth. seventh, and even ninth leaps, so that their tunes are as original as their background.

like comment and subscribe :)

These flames are not very somber Mr. Scriabin.

BASED

Kayo Dot?

Ok man where can I get that Scriabin t shirt!!

A jarring, brutal piece containing an elegant structure, of course-Scriabin! Thx for another informative video.👌

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Some interesting analysis here. However, I think the video is a little misleading because you make it seem as though other composers were all still using traditional harmony, while Scriabin was pioneering new ground. Scriabin's late period in which he was exploring these sounds occurred more than a decade after Debussy's Prélude à l'après-midi d'un faune, in which traditional music theory had already been broken. Debussy and Ravel were already composing music using chord colors, music that was not dependent on traditional tonic-dominant functions before Scriabin. Around the same time Scriabin was experimenting with these new harmonic directions, there were other composers doing the same thing in their own way for example Bartók in his 14 Bagatelles, as well as Charles Ives in various works.

Always very interesting!! Thx!!👍

Please refrain from using A.I produced images

ai generated thumbnail

Thanks Jay, are you going to do the Prelude Op. 59 No. 1 btw?

Scriabin is such a music genius but feels like no one listen to him. 😭

Love this video very interesting, though I would recommend looking into the camera as you speak more

I think your analysis of the second theme of Scriabin 5 is mistaken. Though it never resolves to the B-flat tonic, the chord progression is pretty trivial. The first eight bars are entirely centred on the F dominant, alternating between a root position voicing and the 5th inversion over #11 (here spelled incorrectly as a b5, which he does often in this Sonata when it appears as the lowest note in the chord). He then shifts the tonality to E-flat as he moves to a dominant B-flat, both in root position and in 5th inversion again, this time over the natural 11th. Only two bars before the last statement of the initial idea does he transition briefly into a B dominant chord. The constant, aggressive use of the 5th inversion in Scriabin 5 is probably its most distinguishing feature. In the final coda, he even uses #11 in the treble together with the natural 11th in the bass. There is no mystery to the mystic chord; it decidedly evolved as a dominant 13#11 chord, as he uses it in it's directly as such in middle era works (see Op. 37/3, which conveniently also drops the fifth). The usage of the 5th inversion was also common in Scriabin's middle era music as a device to reduce the directional implication of dominant chords. He first used the fifth inversion over the natural 11th (starting with Sonata 4, I think). Inversion over the #11 progressively--not instantly--became more common as he entered his late era. Interestingly, in your first example, Op. 65/3, all three chords are in 5th inversion, G-Db-G.

I have always been a Rachmaninoff guy but Scriabin is so wicked.... Love his harmonies.

Their stuff isn’t complicated enough, let’s transpose it. Well done young man.

VERY helpful analysis - well done!

This is super great!

Really cool piece Jay, I'm very happy to have you in my contest.

Omg as a math/music person I am so excited for this and hope I can apply this to my compositions! I don't know if this sounds strange, but I wonder if there's a way to apply other logical foundations to music... very tangentially related, that's something I'll look into myself! On the other hand, I've been very interested in Scriabin and his musical world. It seems that your channel may hold the key to unlocking his soundscape for me! When I first heard the Nemtin-Scriabin Mysterium, I was absolutely floored. Anything Scriabin does is just absolutely next level, I'll be taking notes on this for sure! (Apologies if it's off-topic, I was very excited coming into this video :D)

I was intimidated by the set theory labels but now I am saved

Thanks for this Jay! Love your videos.

I also apreciate you explaining in an understandable way. All the numbers and sets are so hard😭

The rock version was awesome bro

Thank you jay!

New Jay Beard complete analysis dropped🔥🔥💯💯💯

Was Henry Cow influenced by Scriabin? Sounds a lot like their last two albums. Excellent work and thanks for the vid!