3'-4
NO31
PRELUDES, OPP. 15, 35 AND 7+ OF ALEXANDER SCRIABIN
THESIS
Presented to the Graduate Council of the North Texas State College in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Wilna Faye Buckingham, B. N.
Denton, Texas
January, 1961 TABLE OF CONTENTS
Page LIST OF ILLUSTRATIONS ...... 9 . 9 . . . . iY Chapter
I. BIOGRAPHY AND INFLUENCES ...... , . 9 . . 1
II. PRELUDES, OP. 15 ...... 0 0 . 9 . . . 11
Prelude, Op. 15, No. 1 Prelude, Op. 15, No. 2 Prelude, Op. 15, No. 3 Prelude, Op. 15, No. 4 Prelude, Op. 15, 1No. 5 III. PRELUDES, OP. 35 ...... 9 9 . . 9 0 . . . . 23 Prelude, op. 35, No. 1 Prelude, Op. 35, No. 2 Prelude, Op. 35, No. 3
IV. PRELUDES, OP. 71+ ...... 29 Prelude, Op. 7+, No. 1 Prelude, op. 71+, No. 2 Prelude, Op. 74, No. 3 Prelude , Op. 74, No. 4 Prelude, Op. 74, No. 5 ...... 58 V. CONCLUSIONS. . . .
-a-s s s- s. .. s. s. s . s 61 BIBLIOGRAPHY.. . . . " s
iii LIST OF ILLUSTRATIONS
Figure Page
1. Overtone Series showing derivation of mystic chord ...... * ...... 10
2. Melodic motif, Prelude, Op. 15, No. 1, meas. 1-2 ...... 12
3. Melodic motif of (a) Schumann, Eusebius, meas. 9-10 and (b) Scriabin, Prelude, Op. 15, No. 1, meas. 1-2 . . " . . . 13
.. Melodic line of Prelude, Op. 15, No. 2, meas. 1-2 . . " . . ". a.,. . . . . a ...... 14
5. Left hand accompaniment, Prelude, Op. 15, No. 2, meas. 3-4 ...... 15 6. Broken chord melodic figure, Prelude, Op. 15, No. 3, meas. 1-2 ...... 16
7a. Harmonic and melodic structure, Scriabin, Prelude, Op. 15, No. 3, meas. 1-2 ...... 18 b. Harmonic and melodic structure, Chopin, Etude, Op. 10, No. 11, meas. 1-2 ...... 18
8. Rhythmic figure, Prelude, Op. 15, No. 4 . . . 18 9. Right hand melody, Prelude, Op. 15, No. 4, meas. 1-4 ...... a. ..aa a . a." a .. ..a.19 10. First melodic theme, Prelude,' Op. 15, No. 5, meas. 1-4 ...... 21 11. Second melodic theme, Prelude, op. 15, No. 5, means. 9-10 in Prelu .p .5 .N .. mss.. .21
12. Melodic line in Prelude, Op. 35, No. 1, meas. 1-2.F m.e i t. ii. d.e...... 3..2
13. Melodic line in Prelude, Op. 35, No. 2, meas.
1«-2 -a -a -...... a. . . a.a. .a. .26
14. First melodic motif in Prelude, Op. 35, No. 3, 0.a 0.a a . . a. .a.27 meas. 1-2 ...... a .
iv V
Figure Page 15. Second melodic motif in Prelude, Op. 35, No. 3, meas. 13-14 . - .-...... 28 16. Rhythmic analysis of Prelude, Op. 74, No. 1 . . . 33 17. Melodic line in Prelude, Op. 74, No. 1, 1-2 . . meas. .. ,. ." a. ,. . . .. " .".,.. f " . 34 18. Root movement in Prelude, Op. 74, No. 1 . . . . " 34 19. Summary of intervallic leaps in Prelude, Op. 74, No. 1 -" -. -" -. -. -" -. -.-" -, -. -" -.-" -.-. -"-. - f s 35 20. Harmonic analysis of Prelude, Op. 74, No. 1 . . . 36 21a. Chord tension in Prelude, Op. 74, No. 1 . . . 37 b. Summary of chord class frequency in Prelude, Op. 74, No. 1 ...... " . . .. -- 37 22. Rhythmic pattern in Prelude, Op. 74, No. 2, ...... meas. 3-6 . . . . - . . 38 23. Rhythmic analysis of Prelude, Op. 74, No. 2 . . 39 24a. Predominant voice in Prelude, Op. 74, No. 2,
meas. 'T .------. ------" 39 b. Counter-voice in Prelude, Op. 74, No. 2, meas. 4-5 . . . - ...... - - - " f 39 25. Introduction and coda in Prelude, Op. 74, No 2, ameas. 1-2 - " ------s . - - - . ., . . . 40 26. Ostinato figure in Prelude, op. 74, No. 2, meas. . -.- s-,-.-a-"-"-.-.-. 3".+ - -. , . . . .f 40
27. Root movement in Prelude, Op. 74, No. 2 . . 28. Summary of root movement in Prelude, Op. 74, No. 2 . . . . f ." . ,...... 29a. Chord tension in Prelude, Op. 74, No. 2 . . . .43 b. Summary of chord class frequency in Prelude,
op. 74, No. 2 ......
30. Rhythmic analysis of Prelude, Op. 74, No. 3. .44..45 31. Melodic line in Prelude, Op. 74, No. 3, meas. 1-2 . .. 0 0 0. ".9.".0. . ". . . 0. .. , 45 vi
Figure Page
32. Coda in Prelude, Op. 74, No. 3, means. 25-26. . . . 46
33. Root movement in Prelude, Op. 74, No. 3 . . .. 47 34a. Harmonic tension in Prelude, Op. 74, No. 3 . . . 48 b. Summary of chord class frequency in Prelude, Op. 74, No. 3 ...... 49 35'. Melodic line in Prelude, Op. 74, No. 4, meas. 1*-3 . .o ...... 50
36. Root movement in Prelude, Op. 74, No. 4 . 0" 5'1 37. Superimposition of major and minor triads in Prelude, Op. 74, No. 4 ...... 51
38a. Chord tension in Prelude, Op. 74, No. 4. . b. Summary of chord class frequency in Prelude, Op. 74, No. 4 ...... 0 5.3 39. Chromatic passage in Prelude, Op. 74, No. 5, meas. 16-17 ......
40. Harmonies formed horizontally in Prelude, Op. No. . . . . 5, meas. 11 ...... '. 5,5 41. Root movement in Prelude, Op. 74, No. 5. . . . 55 42a. Harmonic tension in Prelude, Op. 74, No. 5. " -. 56 b. Summary of chord class frequency in Prelude, Op. 74, No. 5 ...... 57 CHAPTER 1
BIOGRAPHY AND INFLUENCES
Biography Alexander Nikolaevitch Scriabin was born on Christmas Day, 1872, in Mbscow.1 His mother, a promising young concert pianist, hoped for a return to the concert stage after his birth; however, her health failed, and she died of consump- tion when Alexander was only two years old. He was then left to the care of his aunt and his grandmother to grow up in a predominantly feminine environment--a fact that had a definite influence on his naturally gentle character. Scriabin's formal education did not begin until 1882 when he entered the Moscow Cadet Corps at the age of ten. He remained there until 1889, at which time he entered the Mos- cow Conservatoire, studying piano under N. S. Zveref. Along with his piano studies, Scriabin studied composition with Taneief and Arensky, the latter taking an avid dislike to him. It was because of the friction between teacher and stu- dent that Scriabin left the Conservatoire without a composer's diploma, even though he had received a gold medal in piano.
1 According to Gerald Abraham in Masters of Russian z, (New York, 1936), p. 1+5, Scriabin later attached a special mystic significance to the fact that he was born on Christ's birthday.
1 2
In the ensuing years Scriabin gained a considerable repu- tation both as pianist and composer. He had the good fortune to have Belaief (of the Russian publishing firm) as business manager and sole publisher of his works.2 The pair toured
Germany, Switzerland and France until 1896, when they returned to Russia, and Scriabin married Vera Ivanovna Isaakovitch, a student at the Conservatoire, and a gold medalist like him- self. 3 Although the publisher Belaief allotted Scriabin a con- siderable yearly stipend, he found it difficult to support his new wife and prospective family. Thus, he accepted a teaching position at the Conservatoire, a position which lasted for six uneventful years. It was about this time, 1900, that Scriabin was strongly influenced by the mystic philoso- pher, Prince S. N. Trubetskoy. He read Nietzsche and talked
of writing an opera with the superartist for its hero; he read Goethe's "Faust," and began to interest himself in the music and ideas of Wagner.>
He resigned his post at the Conservatoire, and made prep- arations for a stay in Switzerland. It was there on the shores of Lake Geneva that he did his most prolific work. In
2 Nicolas Slonimsky, Great Modern Composers (New York, 1941), p. 137.
3 Alfred J. Swan, .gtabin (London, 1922), p. 21.
+Abraham,1 Masters of Russian Music, p. 468. 3 the summer Scriabin gave himself up entirely to the realiza- tion of his long-cherished project, the composition of a great art work entitled Nystery. This was to be a creation involving the unification of all the arts in the service of one perfect religious Rite. 5 The secondary arts were to enhance the domi- nating arts (those subject to the will-power). Symphonies of music, words and gesture were to be accompanied by sympho- nies of colour and perfume.6 This Mystery was to end in the transformation of the world. There were to be performers only, no spectators or listeners. Their number was listed as 2000.7 During this same visit to Switzerland, Scriabin met and ran away with Tatiana Schldzer, leaving his wife, Vera, to whatever fate she might meet. Due to the alienation of many of his old Moscow friends by the treatment of his wife, and the sudden death of Beliaef, a time of financial hardship faced Scriabin. It was at this critical time that he learned
from Russian newspapers that Modest Altschuler in New York was inviting Russian composers to send him their orchestral scores
for performance at his "Russian Symphony Society" concerts. He sent a score, and Altschuler arranged for him a concert
tour in which Scriabin enjoyed success as pianist and as com- poser. There were memorable concerts in New York's Carnegie
5 Arthur Eaglefield Hull, A Great Russian Tone-Poet, Scriabin (London, 1927), p. 68.
6lbid. 7lbid. 4.
Hall, in Chicago and Cincinnati. Scriabin's fame was spread-
ing steadily both at home and abroad. His compositions were being performed by the pianists Josef Hoffman and Serge Rach- maninov, and the conductors Kussevitski and Safanoff, among others. During this time Scriabin was concentrating on the
completion of his mission in life, the Mystery. In the summer of 1914 he wrote with a great concentration of powers the poetic text to the "Initial Act," a sort of prologue to the
M seery.8 The music was not begun, though the composer had
it "all ready in his head and could finish it in eight months."9
On April 19, 1915, he felt unwell and the following day
took to his bed with a boil on his upper lip. On the 26th
the blood-poisoning developed into pleurisy and he died a few hours later.
Influences
Scriabin's creative work in music is very difficult to
separate from his life as a whole. Philosophy remained the guiding motive of his life and his creative work. It is
interesting to consider this enthusiasm of the musician for philosophic problems in conjunction with the enthusiasm for abstract thought then general in Russia and particularly in
Russian literature. It was especially centered upon the
8 Hull, Scriabin, p. 75.
9 Montagu Montagu-Nathan, A History of Russian Mu ig (New York, 1927), p. 159. field of the mysterious, the unknown.1 0
At that time the literature of the symbolists had blossomed forth, showing enthusiasm for black magic, wizards, and magicians. Lhe music oL7 Scriabin seems to be a reflection of the literary Russian symbolists at first called "decadents" originated on the one hand as a reaction against art too saturated with "society" and social motives, and on the other hand, as a return to the pure poetical mastery and restoration of roman- ticism in Russian surroundings. The greatest influ- ences on the symbolists were exerted by the . . . idealistic German philosophy and the contemporary poets and writers of the West such as Nietzsche, Maeterlinck and Baudelaire. The most characteristic feature of their creative work was the constant contact of poetry with abstract thought and with mystic.philosophy in general.11
But that which in the case of the decedents was a theme for creative work, sometimes merely a beautiful form, occasionally merely a pose, in Scriabin's case morbidly came to be a living part of his very self. Be really began to believe in his uniqueness, in his prophetic mission, his messianism.1 2
Among the musical influences that affected Scriabin dur- ing this period was the French impressionist, Debussy. Of course, it is possible that in the general musical air of
Europe at that time there were floating ideas of complex har-
monic combinations. Nevertheless, it seems that Scriabin was
carried away by the search for new chords, new harmonies.
Scriabin was born and musically educated at a time when
Russian musical thoughts were still in a slumbering state.
1 0Leonid Sabaneyeff, Modern Russian Composers (London, 1927), p. 63.
11 Ibid., p. 252. 1 2 LI&b.d., p. 65. 6
The Russian musician was almost ignorant of the contemporary
achievements of Western music. The very concept of "newness" and "innovation" in music was unheard of.
With Scriabin the romantic period in Russia came to a
close shortly before the outburst of the Russian Revolution,
just as it had come to a close with Strauss and Mahler in Germany, and with Debussy in France.13
So continuous is the development of Scriabin's musical personality that it is only with the greatest difficulty that one is able to draw the lines between the different phases of his creative activity. There seems to be a diversity of opinions regarding the musical periods of Scriabin's life; e.g., according to Hull,11 + artistic development divides into three periods:
Opp. 1-40 Chopinesque
Opp. 1+1-52 Transitional
Opp. 53-74 Mature
Yet in another work 5 Hull divides the opus numbers into four periods:
Opp. 1-18 Apprenticeship
Opp. 19-40 Full personality of old lines
1 3 Max Graf, Modern usic (New York, 1946), pp. 128-130.
14 A. E. Hull, usic, Classical, foantic and Modern (London, 1947), p. 216. 5 1 Hull, ciabin, p. 84. 7
Opp. 41-52 Transition
Opp. 53-74 Fully developed Swan1 6 has yet another suggestion: Opp. 1-26 Early Opp. 27-47 Transition
Opp. 48-74 Late Bauer17 offers the following:
Opp. 1-18 Chopinesque
Opp. 19-50 Transitional Opp. 51-74 Mature
For purposes of the following discussion, the division sug- gested by Bauer will be used.
The first definite period shows the piano compositions of a poetic, refined, salon type of music in which the hand of Chopin is distinctly visible, even the choice of titles: Preludes, Mazurkas, Etudes. But in this imitative period, a striking personality was emerging in which many of the
characteristics of the later Scriabin were in evidence. Even in these days of the Russian school there were attractive original elements in his compositions. The treatment of the instrument is bold, and, at moments, more satisfactory than
Chopin's.1S Scriabin, for instance, gives the left hand a
1 6 Swan, Scriabin, p. 183.
17Marion Bauer, Twentieth Century M ie (New York, 1947), p. 216. 18Paul Rosenfeld, Musical Portraits (New York, 1920), p. 183. 8
greater independence and significance as a rule than this master.19
The second period, a transitional one, covers the works
from Op. 19 up to and including the Fifth Sonata, Op. 52. In
this period the influence of Chopin fades, and one is able to see traces of Liszt, Wagner, and to some extent, Schumann.
(See Chapter III.) More important is the development of
Scriabin's own individual style. Although very gradual, the
complication of Scriabin's harmony by the ever bolder use of
what the theorist calls appoggiaturas, passing-notes, and so
forth can easily be traced up to the Fifth Piano Sonata,
Op. 52,20 the end of the second period, and beginning of the third. By a perfectly natural path Scriabin travelled har-
monically all the way from Chopin to a point where his ear
could accept without alarm an advanced degree of discord and where he found it absolutely necessary to employ subtle and
complicated chords to express the elusive "soul-states" and
spiritual aspirations in which he had become more and more deeply interested.2 1
19 This was due, no doubt, to an injury to the right hand sustained by Scriabin while a student at the Conservatoire. Note especially the Nocturne for the: Left Hand, Op. 9, com- posed at this time.
20Gerald Abraham, This Modern Music (New York, 1952), p. 49.
2 1 IbLd.., p. 52. 9
It is only in the compositions of the third period, those subsequent to op. 51, that Scriabin emerges in the fullness of
his stature. It is only in them that he finally abandoned
the major-minor key system to which he had hitherto adhered.
Scriabin had up to then created new consonances vertically,2 2
preserving a stereotyped horizontal sequence; with the third
period he inclines towards the reverse method--that of Wagner
-- and while his vertical harmonies seem simpler, their juxta- position is much more complicated than in the works of the preceding period.2 3 From this time on Scriabin began using arbitrary scales
and chords as his point of departure, often revealing his melodic or harmonic scheme at the close of the composition.
"One might liken his methods to the use the Hindus make of
the ragjs, or modes, tonal combinations for different compo-
sitxons."24 From these arbitrary choices Scriabin gradually evolved a synthetic chord known as the "mystic chord," out of which the entire score of Prometheus was constructed, as were many other of his compositions of the later years. It is composed of the eighth, ninth, tenth, eleventh, thirteenth, and fourteenth partials in the fundamental series of harmonics, the next step in the evolution of atonal music after Debussy's
22 5ee page 17 for vertical and horizontal harmonies.
23 Hull, Scriabin, pp. 214-215. 4 2 Katherine Heymann, The Relation of Ultramodern to rchajc Music (Boston, 19217 p. 129. 10
whole-tone scale. (See Figure 1.) Alexander Scriabin not
only brings the Romantic period to a close, but opens the
doors to a totally new concept in music, a new harmonic
technique--a new sound.
QWArTEX 0 IAll - "zzWAR,W*O TONE5 - - ,-0-- zz -0 " -
0i IE=M u.1 t3 4 56. 7 q to qt i1L I)!4 IS do itto m 1111 I
,,.,..._ _. .,.;;, .,... 1
Fig. 1--Overtone Series showing derivation of mystic chord. CHAPTER II
PRELUDES, OP. 15
The five Preludes, Op. 15 were composed in the year 1897 while Scriabin was occupied in concert tours with his friend
and publisher, Beliaef. This year brought no less than forty- seven short preludes written at various times and collected
in five sets: Opp. 11, 13, 15, 16, and 17. These preludes,
though clever and original in melody, show the great influence of Chopin on Scriabin.
Prelude, Op. 15, No. 1
Length 31 measures Signature 3 sharps Key A major Meter 3/4 --measures 1-23, 26, 30-32 2/+--measures 24, 25, 27-29 Tempo Andante J = 72
Rhythm
The principal rhythmic figure used throughout the prelude
is 77 1 . Presented first in the right hand, it is later used alternately between right hand and left hand.
In measures 24-29 the original figure is contracted from
'mto'' to ,a- .,alternating the patterns between the hands, while the meter correspondingly
changes from 3/4+ to 2/4. Contrasting rhythmic figures are
11 12 used between the hands, creating superimposition of rhythmic patterns. Three patterns are found: y, /" and 0 . U'L! LU eldy
The melody of this prelude is homophonic, being a single melodic line throughout with accompaniment. As mentioned in
Rhythm, the melody, presented in the right hand, is later
used alternately between the hands. The melodic motif is
short, only two beats. This motif is characterized by (a)
the utilization of upper and lower neighbor tones in the first unit, and (b) the downward leap of a minor seventh in the
second unit. (See Figure 2.) Melodic sequence of this motif appears eleven times in the prelude.
rubato--
legato
Fig. 2--Melodic motif, Prelude, Op. 15, No. 1, meas. 1-2.
Harmony Avoidance of the use of the tonic chord in root position establishes a rather weak tonality in this prelude. It begins on a I4 chord, which appears six times, and root position of 13
the tonic is not heard until the final cadence in the last measure. By the combined use of non-harmonic tones and super- imposed rhythmic patterns an ambiguous harmonic situation is
created; that is, neither harmonic nor non-harmonic tones are accented because of the superimposition, except that chord
tones are coincident on principal beats. There are two modu- lations by common chord to the relative minor, f sharp, and to the sub-dominant, d. In addition to these modulations the keys of f sharp minor and b minor are suggested in passages of me- lodic sequence in measures 19-29. This is a device found fre- quently in the works of Chopin, developed more thoroughly and used more subtly by Scriabin. Another favorite harmonic device is the use of the augmented sixth chord, an example of which may be found in measure 30. It is a German sixth chord, dwelt upon by ritardando, thereby making the alteration prom- inent. It should be noted that this prelude is very similar in all three respects harmony, rhythm, and melody, to Schumann's
Euse us from Carnaval. (See Figure 3.)
(3)
Fig. 3--Melodic motif of (a) Schumann, Eus us, meas. 9-10 and (b) Scriabin, Prelude, Op. 15, No. 1, meas. 1-2. 14
Prelude, Op. 15, No. 2
Length 35 measures Signature 3 sharps Key F sharp minor Meter 3/4 Tempo Vivo-. = 138, measures 1-21 = 152, measures 22-35
The left hand maintains a steady eighth note pattern
J7 7) until the cadence in measure 34. The right hand correspondingly maintains sixteenth notes except at cadential points in measures 8, 16, 21, and the six measure coda at the end. Measures 22-35 are played at a faster tempo than meas- ures 1-21. See "Tempo" previously cited.
Melody The melody of this prelude is homophonic throughout. It contains many non-harmonic tones in the form of appoggiaturas and passing tones in addition to step-wise passages.
Fig. 4--Melodic line of Prelude, Op. 15, No. 2, meas. 1-2. 15
The melodic fragment in Figure + appears twice consecutively
in phrases one, two and four. The first four measures in phrases one and two are identical, while the last four meas-
ures in phrase two are an imitation of those in phrase one
transposed an augmented fourth lower. Although played at a
very rapid tempo, the melody is quite discernible and has a quality of flowing continuity.
Harmony
Harmonies of Prelude No. 2 are outlined in the left hand
accompaniment (see Figure 5) while being embellished by non-
harmonic tones.in the right hand. Except for modulations to the dominant, c sharp minor, in measures 13-16 and the sub-
dominant, b minor, in measures 17-18 the harmony is confined
to the key of f sharp minor. There are no unusual chord pro-
gressions or any altered chords found in the prelude.
Fig. 5--Left hand accompaniment, Prelude, Op. , No. 2, meas. 3 15 16
Prelude, Op. 15, No. 3- Length 22 measures Signature + sharps Key E major Meter 6/8 Tempo Allegro assai =*120-126
Rhythm
The rhythm of this prelude is very definite and regular.
The patternJJ7 is used fourteen times to break the monotony of the otherwise strict eighth note figure. There is neither syncopation nor unusual rhythmic figure.
The melody of this prelude is made up of the upper notes of broken chords in the right hand. The melodic line is generally diatonic, containing both step-wise motion and leaps. (See Figure 6.)
M r% T-F TW AD
Li j; TLA --Kx* HATIC U ZX KL2j I t"
Fig. 6--Broken chord melodic figure, Prelude, op. 15, No. 3, meas. 1-2. 17
Chromatic intervals occur only in measures 10 and 15. The
single melodic line is always kept in the upper voice of the
right hand over an accompaniment in the left hand composed
also of broken chords.
Harmony
This prelude begins in the key of e major, modulating
by common chord to the dominant, b major, in measure 6 for
four measures. In the following five measures there is a
series of secondary dominant chord relations suggesting the
keys of d major, f sharp major and a major. The final seven
measures are in the tonic, e major. Extensive use is made
of seventh chords in harmonic progressions.
Scriabin obviously patterned this prelude after the
Chopin Etude, Op. 10, No. 11. Figures 7a and 7b illustrate
the similarity of the two compositions.
(7tf)
I
C/ die] e.
" __..
------18
4 (74)
I- t
LJ4iTjL I tip. lid&
Fig. 7a--Harmonic and melodic structure, Scriabin, Prelude, Op. 15, No. 3, meas. 1-2. b--Harmonic and melodic structure, Chopin Etude, Op. 10, No. 11, meas. 1-2.
Prelude, Op. 15, No. 4
Length 26 measures Signature 4 sharps Key E major Meter 3/4 Tempo Andantino .1 = 58-60
Rhythm
This prelude contains an excellent example of Scriabinis use of elastic bar lines, that is, carrying a rhythmic figure
over the bar line. This gives the feeling of having no bar line at all. (See Figure 8.)
34' n l Written -- -
Played 3Fi) Li j Ds IL LI 7Fi7
Fig. 8--Rhythmic figure, Prelude, Op. 15, No. 4 19
When this pattern is combined with the right hand pattern 4 'J7 J37as found in measures 1, 5, 9, 15, 17, and 22 a bimetric feeling is established. Another unusual rhythmic pattern found in the prelude is + 4,ij 4 19 appearing sequentially in measures 9-11 and again in meas- ures 13 and 15.
lMelody
The melody, played by the right hand over a left hand accompaniment, is homophonic and diatonic. It is rather angular with skips along the chord outlines being a notice- able characteristic. (See Figure 9.)
Fig. 9--LRight hand melody, Prelude, Op. 15, No. 4, meas.l1-4.
Measures 1-4 are repeated in measures 17-20, while measures
are transposed up a perfect fourth in measures 21#-24,. 20
Harmony Harmonies in this prelude are created around major and minor triads. There is no outstanding use of altered chords, or modulation to a remote key. There are six distinct four- measure phrases with a coda of two measures. Measures 1-8 are in e major, measures 9-16, f sharp minor, and measures 17-26, e major.
Prelude, Op. 15, No. 5 Length 28 measures Signature 4 sharps Key C sharp minor Meter 6/8 Tempo Andante d = 160-152
Rhythm There are three principal patterns found in Prelude
No. 5. They are:)' SI , occurring six times; and
. 3)) , occurring five times; and - a . occurring seven times. In measures 14, 22 and 23 the pattern is found. The triple meter eighth note rhythm 17 ,J is maintained throughout alternately between right hand and left hand.
Prelude No. 5 contains two principal melodic themes.
The first is a four measure theme found in the right hand in measures 1-4, 5-8 and 25-28. The left hand plays this melody 21 in inversion in the last two measures of the melody as played in the right hand giving a contrapuntal effect. (See Figure 10.)
.. LL
______9:
I i ALr 0 - U. r ".7- -, r- ztz IL - LI IJ 41 1 T 1 T '1 ... Itt a.- - - - W I ______
Fig. 10--First melodic theme, Prelude, Op. 15, No. , meas. 1-+.
The second theme is two measures long, found in meas- ures 9-10, 11-12, 17-18 and 19-20. This theme appears in the right hand over a chromatic accompaniment in the left hand. (See Figure 11.)
&IL I _ _
------,- - 4-4- C .. lilts f -4----4-w Mod i
33 In C ]ua ;7
Fig. 11--Second melodic theme, Prelude, Op. 15, No. 5, meas. 9'-1O. 22
Harmony Although this prelude is clearly in the key of c sharp minor, it does not have a strong tonic feeling. French sixth chords are used quite frequently with delayed resolutions, sometimes unresolved for an entire measure. The tonic chord appears only in six-four position until the final cadence when it is in root position.
, CHAPTER III
PRELUDES, OP. 35
The three Preludes, Op. 35 were written in the year 1903 just after Scriabin had given up his post at the Conserva- toire. In the space of nine months he wrote all the pieces from OPp. 30 to 45, including the Fourth Sonata, the Third
Symphony, and a large number of Etudes, Preludes, Valses, and Poems.
Prelude, Op. 35, No. 1 Length 23 measures Signature 5 flats Key D flat major Meter 3/4 Tempo Allegro - = 108-112
Rhythm There are two principal rhythmic figures used in Prelude
No. 2. The first pattern, , is used throughout measures 1-15. The second pattern, , is used throughout measures 16-23. Contrasting rhythmic figures are used between the hands: occurs three times within measures 15 and 16, while occurs twice in measure 1.
23 21+
Melody The melody of this prelude is made up of the first and last notes of the rhythmic figures cited previously. The first nine measures are characterized by a downward leap, usually that of a tritone, to a non-harmonic tone which is resolved upward. The melody of the remainder of the prelude is made up generally of step-wise and chromatic step-wise motion. (See Figure 12.)
Fig. 12--Melodic line in Prelude, Op. 35, No. 1, meas. 1-2.
Harmony The tonic chord is not heard until the fifth measure of this prelude, and is not heard again until measure 19. This is one factor in Scriabin's establishing vague tonality. The first four measures are centered around the dominant, a flat. The dominant seventh is embellished by a seventh chord on a flat spelled a flat-c-e-g. (This is written enharmonically a flat-c-f flat-g.) One French sixth is found. This phrase 25 is then repeated in measures 5-9 on the tonic, d flat. Meas- ures 10-1% contain only suggestions of keys. There is one Neapolitan relationship to the dominant, a seeming modulation to a major, and a harmonic sequence using the French sixth
chord in descending chromatic movement. The over-all harmonic aspect of this prelude is a more advanced, more subtle Chopin.
Prelude, Op. 35, No. 2
Length 3% measures Signature 2 flats Key B flat major Meter C meaning 4/4 Tempo Elevato J = 46
Rhythm This prelude is stately in tempo and regular in rhythm,
with the half note being the principal note value. There is
only one unusual rhythmic figure: )JI - . The figure is found four times.
Melody
The melody of this prelude is very similar to those
found in the works of Wagner, in particular Tristan and Isolde. It is very lyrical and chromatic; but Scriabin has not reached the ultrachromaticism of his later period. In the opening four measures of the prelude the melodic motif is presented. It appears, with a slight degree of differen-
tiation, in measures 9-16 and 24-31. 26
J)o-Now
Fig. 13-Melodic line in Prelude, Op. 35', No. 2, meas. 1-2.
Harmony The harmony in this prelude, as in Wagner, seems to be in a constant state of modulation. Non-harmonic tones are used so freely that it is difficult to distinguish them from chord tones. The first four measures are in the tonic, b flat. Measures 5-.9 oscillate between b flat and its Neapolitan rela- tion, c flat. There is a similar relation between f and g flat in measures 10-16. The key of d flat major is suggested throughout measures 17-23, while the dominant, f, is reached in measure 21+. The last twelve measures are the same as the first eight, with a repetition of the last four.
Prelude, Op. 35, No. 3 Length 1+2measures Signature No sharps or flats Key C major Meter 9/81 Tempo Scherzoso - - 126 27
Rhythm The rhythm is the most interesting aspect of this pre- lude. Scriabin employs ties and dotted rhythms so charac"- teristic of Schumann. There are two principal rhythmic
figures contained in the prelude. They are: J.-. t"
M lody There are two melodic motifs in this prelude. The first, as illustrated in Figure 14, is made up of many leaps, with
little use made of step-wise motion.
Fig. 14--First melodic motif in Prelude, Op. 35, No. 3, meas. 1-2.
The second motif, illustrated in Figure 15, is quite the
opposite, making no use of leaps. It is made up of exclusive
step-wise motion. 28
pp sotto vce
r7 ZZZIZZ IIZZY1LOZ
Fig. 15.-econd melodic motif in Prelude, Op. 35, No. 3, meas. 13-1+.
Harmony The Neapolitan relationship is used throughout this prelude. In the first four measures the first and last chords are in c major, but a flat, the Neapolitan relation of the dominant, g, and d flat, the Neapolitan relation of the tonic, c, are used as the intervening harmonies. This same harmonic scheme is repeated in measures 9-12. Measures 13-20 are in e flat, while measures 21-28 oscillate between c and its Neapolitan, d flat. The closing sixteen measures are a repetition of the first twelve with a four-measure coda. CHAPTER IV
PRELUDES, OP. 71+
The five Preludes, Op. 7+, along with the Poems, Op. 71, VrsI EL.Famme, and two Dances, Op. 73, were written in Podalsk, near Moscow, in 1914. In these preludes, the last musical output of Scriabin, there is a complete break with the idea of a conventional central tonality and with the major-minor modal system. Having departed from conventional tonality, it becomes necessary to depart from a traditional type of analysis, and adopt a more applicable method.
Method of Analysis Of all the contemporary methods of analysis the Hinde- mith system, as explained in The Craft gi Musical Capfition, pp. 94-106, and illustrated in the table found at the back of the book, is the most useful for the purposes of this study. This method consists of the extraction of chord roots accord- ing to the "best" interval in each chord. The intervals are, in descending order from the "best": perfect fifth, perfect fourth, major third, minor sixth, minor third, major sixth, major second, minor seventh, minor second, and major seventh.
In the Hindemith system there are six classifications of chords:
29 30
A. Chords without tritone B. Chords with tritone I. Without second or II. Without minor second seventh or major seventh III. Containing second IV. Containing minor second or seventh or major seventh, or both-one or more tri- tones V. Indeterminate VI. Indeterminate--tritone predominating. Four types of graphs are included in the discussion of each prelude. The first graph illustrates root movements
derived in research using the Hindemith method previously
cited. The graph is based on the circle of fifths, c being
the mediant point, branching out in either direction to f
sharp and d flat, respectively. Since there is no point of key overlapping some intervals are, by necessity, written
enharmonically, i.e., d-d sharp-e is graphed d-e flat-e. The
second graph, below the graph of root movement, is a summary of intervallic leaps as shown by the former graph. The third graph illustrates harmonic tension according to the Hindemith
chord classifications. It is arranged with low tension chords at the bottom, building to high tension chords at the
top. The fourth graph, below the graph of harmonic tension,
summarizes frequency of chord classes as illustrated in the
preceding graph. Also included in this chapter are rhythmical analyses
of Preludes Nos. 1, 2, and 3. These analyses are from metric, 31 harmonic and melodic standpoints. 1 The three facets of rhythm are so aligned as to facilitate recognition of rhyth- mic combinations among the members. There are five possible rhythmic combinations:
1. Agreement of meter and harmonic rhythm--disagreement with melodic rhythm.
2. Agreement of meter and melodic rhythm--disagreement with harmonic rhythm. 3. Agreement of harmonic rhythm and melodic rhythm-- disagreement with meter. 4. Agreement of all three.
5. Disagreement of all three. Due to Scriabin's studious avoidance of tonality 2 ;drje, an applicable definition, for all practical purposes, must be made for his individual use of tonal centers. When the word tonality is used, it shall refer to the realm of the isolated tone itself, having no modal or scalar references. Tonality is thus established by the pitch whose use as root is most frequent.
'Meter is "the basic scheme of . . . accents which remains unaltered throughout a composition or a section there- of and which serves as a skeleton for the rhythm." Willi Apel, "Meter," Harvard Dictionary of Music (Cambridge, 1960). Harmonic rhythm is the rhythmic pattern derived from root changes, not necessarily regular in time, or of equal value. Melodic rhythm is the diversity in pattern of the melodic line, not necessarily coinciding with harmonic rhythm. 2"1. . preference for one tone (the tonic) . . . the tonal center to which all other tones are related." Willi Apel "Tonality," harvard D onaryof Music (Cambridge, 1960). 32
The words of Walter Piston clarify the path that is followed in this chapter.
The intention on the part of the composer must, above all, be taken into account in considering those com- binations of notes which are quite evidently used for their /farticulaj sonority and color. There the relating of the various notes to a tonality or system is of use only for identification and classification and has little to do with explaining the actual effit, except in a negative way.3
Prelude, Op. 7+, No. 1
Length 16 measures Signature None Meter 3/1+ Tempo Douloureux dechirant
Rhythm There is no continuous rhythmic figure in this prelude; however, the rhythmic pattern found in measures 1-: 4 3
37J 3is repeated in measures 9-12. The inner voice in the right hand furnishes syncopation 4i). and rhythmic diversity in triplet, sixteenth note, and quin- tuplet figures. 14 x'.t''t The same rhythmic combination (as described on page 31) is used throughout the prelude: agreement of harmonic rhythm and melodic rhythm--disagreement with meter. This is shown in Figure 16.
Walter Piston, Principles of AHrmnflAna (Boston, 1933), p. 9. 33
E 5r }t
1 It R 3 4 S 6 7 -t RN!
.------
C LWWAY J s-p '-F.-"._._
AIL ML I dL i-_____ 104f 42 _ _.--t -I 1i I--
- I- I--Ii
'5 9 10 11 4z 13 1.4 i5S '16
-i-zzr oEE_
'TJ'+ is jIi7-SAI7 f ~T3 zE
Fig. 16--Rhythmic analysis of Prelude, Op. 71+, No. 1.
The entire melodic aspect of this prelude consists of the exclusive use of chromatic step-wise motion. One melody
is found in the upper voice of the right hand, while a sub-
ordinate melody is found in the inner voices. The two
melodies move in contrary chromatic step-wise motion. (See
Figure 17.) 31+
Fig. 17--4elodic line in Prelude, Op. 741, No. 1, meas. 1-2
Having no key signature, the prelude begins in the tonality of I sharp, and ends in the tonality of c.+ There is an oscillation between these two points throughout, as shown in Figure i8.
4s5u r I t13, 1 t ' ' tl t tI s'1 gfl gatgD .4w i 1 e F T I I I I I t I I I i I I I I I I I I I I I I I I I I I I I F A
4 1 ! 1 1 1 1 1 1 1 ,1-1 I l i-+ - 1 -tt+t1t11 I11$ PYPFTTTPI iiiiiisiiitvv1v i
}--t- # - -- t-
t -i- -t -i -t t -t-t - t-t---t
-4 -
P1 -aI 'I mlII A t ; p !- 1-1 1 1 1 1 i f 1 1 1 i P t,1 1 1 1 1 1 i n 1 1 u a 1* i 1 . 1-t I1 a, I..... L.r. ... ElY rI
4. i ! 41i i iv ---
'r----t -- -- 1 ,1 IF --- . } r- --
r 1j -
r- I 111117 i i i i i i i 7r- 1 1 1 i i i i i i i i i i i 'pi 'VI
f. i iik tit . l _1 i i i i i i-i i i i i i i i i i i i I i i i i i i ! i 1,1 1 1 1 1 1 1 1 1 1 1 1 1 1 *1_ -F-+--i- 1 1 1 1 1 tstttli 1 l i 1 1 1 1 1 1-4 +t11 1 -t Ji i - i -i utrLL .zL jii..Li L
Fig. 18-Root movement in Prelude, Op. 7+, No. 1
Throughout this prelude b sharp is used in the manu- script, but the enharmonic c is used in reference. 35
The tritone is the predominant interval, occurring more often
than any other interval. It appears fifty-three times verti-
cally, seven times horizontally, and is the principal chord member in twenty-six chords. As shown in Figure 19, the leap
of a tritone occurs five times in root movement, second only
to the leap of a fifth, occurring seven times.
Fig. 19--Summary of intervallic leaps in Prelude, Op. 7+, No. 1.
In a quartal and a tertial analysis5 chords built
quartally, containing perfect, diminished and augmented
fourths, appear nineteen times, as compared with twelve chords
built tertially. (See Figure 20.)
5Figure 20 contains two analyses of Prelude, Op. 7+, No. 1: a tertial analysis, appearing above, and a quartal analysis, appearing below. They are vertically aligned to show both analyses of the chords which may be constructed either in thirds (in most cases only hypothetically), or in fourths. Repetitions of chords within a measure are in- cluded in the count of chords but not in Figure 20. 36
bbip
r I Z 3 4 -- 0 a
49ZIZ _rzz -i --
0 0 4 4i 0 Dip ~jsj 13 14 15'
ao- -4 -
- 7~ 0~
. 2(..- .. o- iaii L
Fig. 20--Harmonic analysis of Prelude, Op. 7+, No. 1
There is little use of low tension chords. As shown in
Figure 21 the chord used most frequently is the class VI chord, the chord of highest tension, used nineteen times.
The chord of lowest tension used in this prelude is the class 1112 chord, used eight times. 37
I4< 110t 4 9 -'ti s 13. 14- /h
- - 4-
~ L- - -+ 1---,ea... -- -- -
z 3i 4 5 6{( V ) 'Q 'e - / g ,/r/r t
x-_
Fig. 21a--Chord tension in Prelude, Op. 74, No. 1 b---Suiary of chord class frequency in Prelude, . Op. 71+, No. 1. 38
Prelude, Op. 7+, No. 2
Length 16 measures Signature None peter 4/8 Tempo Tres Lent, contemplatif
Rhythm
There are two rhythmical features in Prelude No. 2. The first is an eighth note figure in the left-hand, an ostinato bass. The second is a dual stream of various sixteenth-note patterns against quarter and eighth notes. Figure 22 illus- trates the rhythmic pattern occurring in measures 3-6.
~ ;JJ
Fig. 22--Rhythmic pattern in Prelude, Op. 74, No. 2, meas. 3-6.
This same pattern occurs again in measures 7-10. Figure 23 illustrates the agreement among all the rhythmical elements: melodic rhythm and harmonic rhythm, as well as meter. 39 y7 t) 2 f{ tI Jt F 4 IV 'I 8 i .3 5 P n -n I -- 3173Ed A4Io e r- 2 r-I- FiIlilfi4 Iii T
---FA.
-'16 13 14 s5 K 9 1o 14 ~ J; rzfc
op Is_ .-Ale-me-
Fig. 23--Rhythmic analysis of Prelude, Op. 74, No. 2
Melody
Over the recurring bass figure appear two voices in the
right hand, the predominant voice and the counter-voice. (See Figures 24a and 21+b.)
I '
Aid NA lz
w - ._ - - _ I (4)
I
ffw I w~ww~~wT
Fig. 24a--Predominant voice in Prelude, Op. 74, No. 2, meas. b--Counter-voice in Prelude, Op. 74, No. 2, means. 4<
-- -- 40
Movement in the prelude is principally chromatic step-wise motion interspersed with the leap of an augmented second.
Harmony An interesting harmonic feature of this prelude is a two-measure introduction in f sharp which is used again at the end as a coda. (See Figure 25.)
.pP
Fig. 25w--Introduction and coda in Prelude, Op. 71+, No. 2, meas. 1-2.
Figure 26 shows an element of bitonality brought about by an ostinato bass figure suggesting the triads of f sharp and c.
K _ _ J [7 'I '7i~i .,..._. Z r r r
Fig. 26--Ostinato figure in Prelude, Op. 74, No. 2, meas. 3J+. 41
This element of bitonality is further illustrated in root movements as shown in Figure 27.
3 4js5 I y q e a'st=-i5,e4if,16
.P 4F::1l::It:III) fZ il l t:I 1 1 1I1 f I I IIl1 It i ] 1 1 1 1 1 1 i
... 1 8 go E w A
C F'
ri.
PW
Fig. 27--Root movement in Prelude, Op. 74, No. 2
The predominance of this tritone leap is shown in Figure 28.
Fig. 28--Summary of root movement in Prelude, Op. 7+, No. 2. The chord of lowest tension used in the prelude is the class I chord, occurring thirteen times. The chord of high tension used is the class IVi chord, occurring only once in measure 5. Chord tension is illustrated in Figure 29.
0-0), r e a s 4 r s 43
(U4 ) I I I 4 t '
i
Fig. 29a--Chord tension in Prelude, Op. 7+, No. 2 b--Summary of chord class frequency in Prelude, Op. 714, No. 2.
Prelude, Op. 7+, No. 3 Length 26 measures Signature None Meter 9/8 Tempo Allegro drammatico
Measures 1-12 are identical with measures 13-24 in rhythmic pattern. There are two rhythmic patterns in Prelude
No. 3: P tti MJ'J used in measures 1-8 and measures 13-20, and ag --urs1m -- 3ITI2,n-- g used in meas-
ures 9-12 and measures 21-24. In the left hand are two
rhythmic patterns which alternate: Y and
Figure 30 shows agreement among meter, harmonic rhythm, and melodic rhythm.
METER - mU ITT _ '7' rl_ iCt- 4 1 2 3 K
*/"
r~ 7i'_ 44ELO. tII'At4 I.Y -.. _T..._.
W -K 17M
or W-_ ivv)JII fill- r'rirc 11 F 7 $ 9 IO 12 AL i I k/f 2~ t
72= __ i i D19D3 f'YJ2 l40_ I4
rt .. Y '_ ._: -- }
v
.at __ _
L 44 LI -
i I ~
, I iozt ,z2. ;Z4 zs
-'4
... a ..._. .. _.. '''
_' ._...e_ r ' __! _ . _. __.
_ _._ w.._...... ------, ~z4~j4~ i i
Fig. 3O--Rhythmic analysis of Prelude, Op. 7+, No. 3 8
The melody, in itself twelve measures in length, is characterized by an upward leap of a major seventh followed
by descending motion. (See Figure 31.)
Allegro drammatico
.. creso. p
Fig. 31--felodic line in Prelude, Op. 71, No. 3, means. 1- 2 46
This figure is repeated three times, each time an augmented fourth higher. The entire first twelve measures are then repeated an augmented fourth higher. A two-measure coda brings the prelude to a close. (See Figure 32.)
i l
Fig. 32-Coda in Prelude, op. 71+, No. 3, meas. 25w-26.
Harmony
As shown in Figure 33 the root movement is principally
by thirds. F sharp is root of ten chords, d sharp of nine, a of six. These chord roots themselves, f sharp, d sharp and
a spell out a diminished triad, a chord found in great fre-
quency in the prelude.
REV a t,w4 V ig quenra 1n t iVKnit ilwsi asnurs F
40
Fig. 33-Root movement in Prelude, Op. 74, No. 3
The harmony is formed horizontally rather than verti- cally. That is, Instead of the harmony being presented in a chord (vertically), it is stretched out through several beats, one measure, or even several measures. The recurring bass figure, already mentioned under RhythL, is the interval of a tritone, the interval occurring most frequently in the 48
prelude. There is a wide variety of harmonic tension in the
prelude, ranging from a class IIa chord, appearing once, to
a class VI chord, appearing four times. (See Figures 34a
and 34b.)
MIEASURES (crc) s sa a tai 1t15041S 111 w i" s t IN a "fit I -mm- -f-r-
"M
1 - E- -- -4-- i
TrrrrrrrrTrr r , '
- # -v-{-
i r f i t t I TTIIIIIII I A I I I Z - 1 1 1 1 1 11E' d -1- 4 - -, -1 -1- i AT 1 -1 -1 -4--4---4
Irnr III i $_J+aW~ 'If' i i i i il I I IA -tttttI tt-t
ti 1 f i L I I I I I I I --I-rI -TI I I- -4--1 1 1 1 1 1 I I I I I I 49
Fig. 31+a--Harmonic tension in Prelude, Op. 74, No. 3 b--Summary of chord class frequency in Prelude, Op. 71+, No. 3.
Prelude, Op. 7+, No. 4i
Length 25 measures Signature None Meter 3/4 Tempo Lent, Vague, Indecis
Rhythm There are some unusual rhythmic combinations in Prelude
No. 4+. The following is found in measure 5 and measure 10:
This pattern occurs in measures 12 and 13: J)J k t 1 r"Cf
------50
There is also an excellent example of rhythmic shift giving the feeling of being in duple meter. ) J.j..D)
5J1 4I JOtherwise the prelude is made up of quarter and
eighth note passages (no sixteenth notes appear).
Melody
The prelude is based upon a four-measure melody made up
of steps and leaps, both small and large as shown in Fig. 35.
Fig. 35-4Melodic line in Prelude, Op. 7+, No. 14, meas. 1-3.
There is an immediate repetition up to the last figure which
is distorted. This gives a clue as to what will happen next. The remaining fourteen measures elaborate on this distorted
figure, change it by one half step, and finally invert it.
Harm
The prelude begins and ends in the tonality of a. (See
Figure 36.) Between these two points there is at least one
chord built on each note of the diatonic scale: c (2), c
sharp (8), d (5), d sharp (6), e (4), f (6), f sharp (2),
g (3), g sharp (1), a (9), a sharp (1), b (4). 51
fA 4 Ie 3 S 4 e s i A oz -T- T , 4 I t .I al I : I 1 0! 1 HitFT 44+ '-~ 4 ~17~ 114 __, __ Ti - -t~ 1 i, 1 1 & S 1 1 1 i 1 1- 1 i i 1 4-- i 1 i 1 tt'TA"- 1 1 1 1 1 B5 4+1- b-I- -441 -I-- T t------E-4 -ff-
i I I ! i 1 I tt1 -4~~ - r - Alk i ! i i 1 1 i ! -! 1 i n !U i i i 1 1 1 1 i il l 1 I1 I1 I 444-1 I tq-t ti-1 #u -;.-' 0 t #t1 ,, 4 -- itt F
wit i * ntm m = i i i i m! i I i f i i i, f IS il i I i m imm im i i i i i i
414 1, I;- i I fill11 11 111171 lijill 1 I'l 1111 I I I rj: T t t 1111-t iM1Ti T TTr1TT1TtT
1 1 1 1 - 1 1 1. 1. :. 1 1. _T'-TTT-4-4 1 1 1 1 1 1 1 1 i 1 R bj_ f _T T__+...T 7_4--4 1 1- i1 1 1 1 1 1 1 1, i'l 1 1 a 1 1 1 1 1 1 1 1 i s i 1 1 1 1 1 "1 Ti 1 1 1 1 1 1 i 1 1 1 i TTi I i i 1 1 i 1 i L I. 7=-
Fig. 36--Root movement in Prelude, Op. 74, No. 4
Harmonies are formed vertically rather than horizontally.
Quartal harmonies are found more frequently than tertial harmonies. There is also the superimposition of major and minor triads. (See Figure 37.)
A. I
pzzz
" "Rim
i1 .. +
Fig. 37-Superimposition of major and minor triads in Prelude, Op. 7+, No. 4.
WAR 52
The chord of lowest tension used in the prelude is the class
12 chord, occurring six times. The chord of high tension is the class IV chord, occurring eight times. (See Figure 38a and 38b.)
MU (AV" 'dA4 rL of V 4 10 jI r f tt ame.f L of Va -A ,.r AL ,5 A,.
i
t ,
- - --
4
4' I I I I I I I I I I I I M ' 1 11 14
4 t ! A 0 i w 1It i
}t i f I }. f 1 ., ... y..,._ --I I-t -t--I r-t- - #- -- t--}- - h1I I - I l 1 1 1111I I L-1 53
(3 14 0,- a 6,0 - 1,IV
Fig. 38a--Chord tension in Prelude, Op. 74, No. 14 b--Summary of chord class frequency in Prelude, Op. 74, No. 4.
Prelude, Op. 74, No. 5 Length 17 measures Signature None Meter 3/2 Tempo Fier, Belliqueux
The principal rhythmic figure in Prelude No. 5 is a sextuplet divided uniquely between right and left hand:
r /. In measures 2,14,10 and 12 the rhythm is 54 varied by a sixteenth note quintuplet figure. A syncopated figure . 1,J P appears in the left hand in measures 5 and 13. The general rhythmic characteristic of the prelude is a continuous rushing forward as if to meet the climax.
Melody There is no real melodic thread discernible throughout the prelude, only upper notes of harmonies. Figure 39 illus- trates descending chromatic passages used at cadential points in measures 8 and 16.
Fig. 39--Chromatic passage in Prelude, Op. 74, No. 5, meas. 16-17.
The distinctive melodic feature is that there is no real melody.
Harmony
The harmonies are horizontally formed rather than ver- tically. (See Figure 40.) 5.5
r
I
on-son
rr -=
Fig. 1 +--Harmonies formed horizontally in Prelude, Op. 7+, No. 5', meas. 11.
The prelude begins and ends in the tonality of b flat with the principal interval of root movement being the third. (See Figure 41.)
i' 2.3 1 4 1 1 o a 7 f t q r*, i e So13a s i o I I 'I I I I I I I I I I I I I I I I I I I ! I I I r - I- i +14 - i I 1 -.
I- TTTT'TT1T1tt j1 I IRA 1. A 1 it _ 1T _ l- t 1TT i i i ! i i i i'mirk! 1 t 1 11 t 1. I
1 1 f{- -4
I I li t I li - I I I . I I I- -i I r -I If 1- !> - fpi !m-l sV - 1---...... -- t
4
1 is 1 1 1 1 1 l'! i .r rVII 1 1 1 1 5 ": KI P' i t t1 i 1 p 1 -t-1 !11 -if k f1i-- 1 , D"'e, I I lftIII ,I 1.1 11 l A ! 1 1 1 i itt1 1 i t , i t4 11 ,irl I- t f i r -r-1--i" .,r-9 1-t_. i..L 444 1 - - ..e 4 V-+ +4Ht
t1- I -i i~ i t -i i i ii -#" -4- 1-^i 1 1 1 1 1 1 -" 1 1 1 1 1 i 1 1 1 i l 11 1 1 I i iI i 1 1 i-I iI i i K 9 tLLi. .JLi LL JLJ I I LLL. L .I1 .11 III !-__LL .. I
Fig. 41--Root movement in Prelude, Op. 71+, No., 5 56
The chord of high tension used in the prelude is the class
VI chord, occurring twice; the chord of lowest tension used is the class IIa chord, occurring once. The class IV chord is used most frequently, eight times. (See Figures.42a and 42b.)
(51 )4tb U, g q$ wii li145,/i 7 ji
X'I
--L I I t l 4-- 57
(fr) Y s 4 S it 7
I L
FT I 1c
g
si:
i
r
Fig. 42a--Harmonic tension in Prelude, Op. 74, No. 5 b--Summary of chord class frequency in Prelude, Op. 74, No. 5.
After sixteen measures of using high tension chords the pre- lude closes with a simple V7 chord built on e flat. CHAPTER V
CONCLUSIONS
From the analysis of these three sets of preludes, each set representing a period of style, it is possible to draw conclusions concerning the evolution of Scriabin's musical style.
The rhythm of the early works was not unusually complex.
They had a few unconventional patterns, but the major func- tion of the rhythmic patterns was to set off the melodies.
Meter signatures remained static throughout, and tempo indi- cations were specific. Rhythm became more free in the transi- tional period, while more unusual and interesting patterns were adopted. The freedom of rhythm was further developed in the last period where it became an important feature of the composition. Tempo indications were vague, and rhythmic patterns complex. Melodically the early preludes were clearly under the influence of Chopin. The long melodic lines and varied treatment of these lines were patterned after the works of the Polish pianist. One of the few indications of original style were the counter melodies which appeared from time to time. Hints of future melodic treatment were seen in the fre- quent use of one motif throughout a work. The transitional
58 59 period is greatly under the influence of Wagner, especially in the use of melodic ideas. Counter melodies became more prominent, and the number of principal melodies was dimin- ished, stress being placed on thematic treatment. The last stylistic period shows further emphasis on the short melodic idea. The principal melodies, as the counter melodies, became increasingly chromatic. Melodies were often over- shadowed by complex inner parts.
Harmonically the early preludes remained close to con- ventional chord progressions. The augmented sixth chord was given special attention, both in purposes of modulation, and in manner of resolution. Dissonance was treated through the use of hon-harmonic tones. In the transitional period fewer major and minor triads were used, while seventh, ninth, and augmented chords became less a passing type of harmony and more an acceptable feature of harmonic structure. Complete harmonic freedom is achieved in the last period. Harmonies became more horizontal than vertical. Often one chord would be the basis for several measures. Dissonance became an accepted part of the harmony.
The graphs of harmonic tension show that Scriabin did not favor any set chord progression, even though he does show a marked preference for chords containing several tri- tones. The graphs of root movement are each strikingly individual. Here again, although Scriabin does not subscribe 60 to a set pattern of root movement, he does favor the leap of a tritone in root movement.
v BIBLIOGRAPHY
Books
Abraham, Gerald, Qii Russian Usi2, London, W. Reeves, Ltd., 1939.
Abraham, G., and Calvocoressi, M. D., Masters of Russian usiL, New York, A. A. Knopf, 1936.
Bauer, Marion, Twentieth Century usi, New York, G. P. Put- nam, 1947.
Boughton, Rutland, Realjty of QMuij, London, Kegan Paul, Trench, Trubner and Company, Ltd., 1934.
Brook, Donald, Six Great Russian Composers, London, Rockliff, 1946. Carner, Mosco, 4 Study gf Twentieth Century Harmon, Vol. II of Cnem orar Harmony, New York, McGraw Hill, 1941. Cooper, Martin, The Music Masters, New York, Twentieth Century Press, T7T5~
Copland, Aaron, Our Neww ujsc, New York, McGraw Hill, 1941.
Cowell, Henry, New Mustcal Resources, New York, Knopf, 1930.
Demuth, Norman, musical Trend in the TrentiehCentury, London, Rockliff, 1952.
Dyson, George, Th lNew Musc, London, Oxford University Press, 1924. Ferguson, Donald, Hsfory of Musical Thought, New York, Harcourt Brace, 1935. Graf, Max, Modern Uusi=, New York, Philosophical Library, 1926. Gray, Cecil, A Survey of Contempoy Music, London, Oxford University Press, 1927. Heyman, Katherine Ruth, The Relation of Ultramodern to Archaic Music, Boston, Small, Maynard and Co., 1921.
61 62
Hindemith, Paul, Craft of Musical Composition, Vol. I, New York, Associated Music Publishers, 1942.
Hull, A. Eaglefield A Great Russian Tone-Poet, Scriabin, London, Kegan Paul, Trench, Trubner and Company, Ltd., 1927.
Modern Harmony, Boston, Boston Music Company, 1915.
Music, Classical, Romantic and Modern, London, J. M. Dent and Sons, Ltd., 1927. Miller, Horace Alden, New Harmonic Devices, New York, Oliver Ditson Co., 1930.
Montagu-Nathan, Montagu, 4 History of Russian Music, London, W. Reeves, 1918.
Handbook to the Piano Works of A. Scriabin, London, J. and W. Chester, 1922.
Piston, Walter, Harmony, New York, W. W. Norton and Company, Inc., 1941.
Principles of Harmonic Analysis, Boston, E. C. Schirmer Music Co., 1933.
Rosenfeld, Paul Musical Portraits, New York, Harcourt, Brace and fowe, 1920.
Sabaneyeff, Leonid, Modern Russian Composers, New York, International Publishers, 1927.
Salazar', Adolfo, Music in Our Time, New York, W. W. Norton and Company, 1946.
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Articles
Hull, A. E., "Scientific Derivation of Harmony Versus Empirical Methods," Proceedings of the Musical Associa- tion, 1 (1917), 96-99.
a 63
Hull, A. E., "A Survey of the Pianoforte Works of Scriabin," Musical Quarterly, 1 (October, 1916), 460-477.
Encyclopedia Articles
Apel, Willi, "Tonality," Harvard Dictionar of Music, Cambridge, 1960.
"1eter," Harvard Dictionar of Music, Cambridge, 1960.
Music
Chopin, Frederic, Etudes, edited by Vikuli, New York, G. Schirmer, Inc.
Schumann, Robert, ,arnaval, edited by Clara Schumann, Edwin F. Kalmus, Publisher of Music.
Scriabin, Alexander, Sixteen Preludes, edited by Deis, New York, G. Schirmer, Inc.
Scriabin, Alexander, Five Preludes, 0. 74, edited by a committee of Russian composers (N. MIyaskovsky, A. Alexandrov, N. Zhilyaev and others), New York, Inter- national Music Company.
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