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。
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.
