Modern Music Theory and Application

Scriabin’s ‘Prometheus’ Mystic Chord Analysis and examples for Guitar, Orchestra and Piano

Posted on May 29, 2024June 11, 2024 by Modern Music Theory and Application

The “Prometheus” Chord-Scriabin’s “Mystic” Chord Analysis

Hi Guy’s,

Today, we will take a look at Alexander Scriabin’s “Prometheus” or mystic chord.

INTRODUCTION

The “Prometheus chord,” introduced by Alexander Scriabin, is a fascinating and innovative harmonic structure that reflects the composer’s mystical and philosophical inclinations. Officially known as the “mystic chord, this six-note chord (C, F#, Bb, E, A, D) forms the foundation of Scriabin’s “Prometheus: The Poem of Fire,” Op. 60.

CHORD CONSTRUCTION:

Okay, let’s take the scale notes in order [Hexatonic 6 notes]

Now, let’s arrange the pitches by intervals,

root
major second
major sixth
major third
minor seventh
augmented fourth
root

This results in the “Promethus/Mystic” Chord:

Here is the outline of the chord in single notes:

Now, let’s apply it as a guitar fingering:

Here is a Barre Guitar chord shape/voicing:

Guitar-voicing-bar-chord-Scriabin-Prometheus-chord

From here, we can now play around with this unique sound and create some interesting musical ideas from it.

CHORDAL ARPEGGIOS FROM THE CHORD/SCALE OUTLINE

Here are two “Chordal picking” guitar arpeggio vamps:

In the first example the key is to make sure not to dampen the open D string in the first bar even though this same string is fretted in the second bar.

Example 1:

composing-with-Scriabin's-Prometheus-chord

In the next example [below] the key to execution is the same by remembering not to dampen any open strings with the fretting hand.

EXAMPLE 2:

Longer lines constructed from scale for improvisation and/or composition:

Here is an example of a longer line built from this chord/scale concept:

improvising-with-Scriabin's-Prometheus-chord

This little phrase exploits the chord/scale outline with some string skipping/intervallic picking to create interest and to make it more compositional in its approach.

Chord for Orchestration:

This chord/scale is employed a lot in modern and old Film and T.V music:

Example 1: Old 70’s detective shows like “Columbo”

Example 2: Mystery/Drama from the late 30’s early 40’s Film.

Example 3: Tremolo Build up for suspenseful crescendo.

IN CONCLUSION

In conclusion this was just a quick look at the amazing “Prometheus” chord and it’s use and function in music.

It’s a very useful tool becasue it can be employed for lovely guitar vamps, solo lines and improvisation. It’s also excellent for orchestration where drama and suspense is required.

FROM SCRIABIN’S PERSPECTIVE:

This chord departs from traditional harmonic conventions, creating a sonorous, otherworldly soundscape that evokes transcendence and spiritual awakening. The chord’s ambiguous tonal center and unconventional intervallic relationships challenge listeners’ expectations and epitomize Scriabin’s quest to explore new harmonic realms. This daring musical innovation was part of Scriabin’s broader artistic vision, intertwining music with his synesthetic experiences and esoteric beliefs, aiming to elevate human consciousness through art.

FREE PDF DOWNLOAD

prometheus-chord-scriabin Download

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

Exploring Messiaen’s Mode 1: Musical Concepts and Colorful Creations

Posted on May 25, 2024June 11, 2024 by Modern Music Theory and Application

Unlocking Messiaen’s Mode 1: Guitar Explorations

Please watch video above for detailed info:

Hi Guys,

Today a look at Messiaen’s first mode of limited transposition:

MODE 1

This is the Whole tone scale and has two transpositions and one mode. It is a “Hexatonic” scale that has a dreamy, enigmatic air to it due to lack of resolution as all of the tones are the same distance apart.

Creating an Etude from Messiaen’s Mode 1

The goal of this blog post is to create something interesting out of this scale.

So, here is my little Etude: I am basing this on the style of Robert Fripp [Plectrum guitar technique] and Olivier Messiaen’s compositional approach.

Here is the first bar: This employs a Fripp-esque repetitive picking “Riff”

exploring-messiaen-mode-one-Fripp-guitar-style

From here, let’s make a smooth transition with an ascending whole tone scale:

Now, let’s employ some 20c Classical Messiaen style “Intervallic” movement to complete the phrase:

exploring-messiaen-mode-one-intervallic-guitar

From here, we will descend with the whole tone scale and connect it to the augmented arpeggio:

Let’s now return to and exploit our intervallic movement as we ascend the guitar fingerboard:

Finally, let’s finish with some string skipping whole tone scale and a couple of plucks up high:

exploring-messiaen-mode-one-string-skipping-guitar

IN CONCLUSION

This was just an example of playing around with musical concepts and creating something colourful and interesting from Messiaen’s Mode 1.

Although, this is only a six note scale it has plenty to offer due to it’s non resolving/non diatonic nature. It works really well for riffs, motifs and hooks and really draws the listeners ear in. Even when used sparingly it can really add colour and texture to a composition [or part of] .

FREE PDF DOWNLOAD:

messiaen-mode-1 Download

For more Blogs on Messiaen’s modes CLICK below:

Messiaen’s 5th Mode.Composition and improvisation lesson

Exploring Messiaen’s 5th Mode of limited transposition

Messiaen Modes and Compositional/Improvisational Technique: Music Theory Lesson

Messiaen’s modes of limited transposition:

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

Pat Martino Intervallic Studies: Un-Published Book Lesson

Posted on May 21, 2024May 25, 2024 by Modern Music Theory and Application

Pat Martino Intervallic Studies: Un-Published Book Lesson

PLEASE WATCH VIDEO ABOVE FOR DETAILED INFO:

Hi Guys!

Guitarist Mark Koch one of Pat’s students kindly sent me a copy of Pat’s un-published book on “Intervallic studies“.

pat-martino-intervallic-studies-umpinlished-book

It’s a fascinating look at the imaginative thought process and creative concepts that Pat was investigating for the development of the improvising guitarist.

Also, it’s a real eye opener for the development of scale applications and creating fresh lines form nearly every scale imaginable. This book has around 294 examples.

pat-martino-intervallic-studies-unpublished-book

INTERVALLIC STUDY #1 “Whole Tone Scale”

In this first example we will look at the “Whole Tone Scale” Study:

From a music theory perspective if we take away the intervallic approach and place the notes in order we will get a whole tone scale ascending followed by a whole tone scale descending:

Now, we will put them back into the “Disguised” form with the clever approach of the intervallic design:

The key to playing these studies on the guitar is to decide on a methodical fingering and stick to it. [Below=Pat’s Fingering]

pat-martino's-unpublished-book-intervallic-guitar-studies

Also, it’s a really good idea to play in a staccato manner because there is a tendency for the open strings to resonate sympathetically with the string that has just been plucked.

I am employing strict alternate picking for this study starting on an upstroke:

FULL INTERVALLIC STUDY:

Same Study: From Pat’s book with fingering examples:

pat-martino-intervallic-studies-unpublished-book-whole-tone-scale

INTERVALLIC STUDY #2 “Pentatonic Scale”

Now we will look at how Pat breathes life into the pentatonic scale:

As before we will take this from a music theory perspective and remove the intervallic approach:

pat-martino-pentatonic-scale-guitar-lesson

Here, we again find the same principle as the previous example. But, this time we have the Pentatonic scales ascending and descending:

Now, let’s disguise this with the use of intervallic exploitation and alternate picking starting on a “Downstroke”:

Same Study from Pat’s unpublished book:

INTERVALLIC STUDY APPLICATION with the “Chromatic Scale”

Finally, we will employ these intervallic concepts through a iim7b5 V7 i cadence.

Once again, we see the intervallic set up:

pat-martino-intervallic-improvisation-example

Now, let’s employ our music theory and place the intervallic notes in order. Here we find that we have the exploitation of the chromatic scale.

pat-martinochromatic-scale-guitar-lesson

This clever approach is really effective because in the second bar beats 2 and 3 we have a literal chromatic scale that then anticipates the coming minor tonic chord of Em with an Em arpeggio.

Full Example:

In Conclusion:

This was just a quick look at the creative thought process and unique approach of Pat Martino, resulting in the application of this material into a minor iim7b5 V7 i improvised line to hear how they work and sound.

This approach to scales and improvising [and composing] with them is highly original and extremely useful when there is a need to bust out of cliches and seek colour and creativity in our playing.

FREE PDF DOWNLOAD:

pat-martino-jazz-book Download

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!