コンサルタント=ピアニストはきょうも語る

現役経営コンサル兼ピアニストが仕事術とピアノと減量と英語と沖縄とかについて語ります

白ミサの和声分析

テキサス州立大学音楽学部の講師、Dr. Ezra Bartzによる白ミサの和声分析はきわめて論理的であり、スクリャービンの他の作品、特に中後期の作品を理解するにはとても良いものだ。

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もちろん英語だが、日本語で和声学を学び、かつ和英での音楽用語の理解があれば理解するのに支障はない。

以下はこの動画を視た上でのメモ:

 

Early Experiments - Addition of 7th, 9th, 11th and 13th; and Chromatic Alterarion

C E G B♭ D F A = C dominant 13th chord

==> C E G♭ B♭ = C dominant flat 5 chord

C E G♭ B♭ D♭ = C dominant flat 9 chord

C E G♭ B♭ (C dominant flat 5 chord) transposed to G♭ B♭ C E (G♭ French augmanted 6th chord)

F; I V7♭5 Fr+6 / IV B♭: Fr+6 V7 I

 

Later Works:

C E G B♭ D F A = C dominant 13th chord rearranged to

C D E F G A B♭ (C) = C myxolidian scale = diatonic scale

C E G♭ B♭D A♭ rearranged to

C D E G♭ A♭ B♭ (C) = C whole-tone scale (missing D#)

C E G B♭ D F# A rearraned to

C D E F# G A B♭ (C) = C acoustic scale

 

Seventh Sonata

A. Transposition technique is used for the first ten measures

C E G B♭ D♭ F# A = C octatonic triad

C D♭ E F# G A B♭ (C) = C octatonic triad arranged as a scale

C D♭ D# E F# G A B♭ (C) Complete C 0 13 octatonic scale

While C E G B♭ D♭ F# A = C octatonic triad is shifted by minor third to E♭ G B♭ D♭ F♭ A C = E♭ octatonic triad, sharing six pitch-classes (C E G B♭ D♭ A),C E G B♭ D♭ F# A = C octatonic triad is shifted by 5th to G B D F A♭ C# E sharing only three pitch classes (E G D♭)

In actual case with the opening of he seventh sonata, while in Measure 1 C octatonic triad is shifted by minor sixth to A♭ triad, sharing only three pitch-classes, in Measure 5 A♭ (C)  (E♭) G♭ B♭♭ D F = A♭ octatonic triad is shifted by tritone D F# (A) C E♭ G# B = D octatonic triad, sharing six pitch classes (A♭ C E♭ G B♭♭ D)

Sharing more pitch clsses is less striking, i.e. minor 6th shift is striking than tritone, which explains the dynamique and coloes of the first ten measures.