Examples – Page 12 – Modern Music Theory Improvisation 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.

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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

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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:

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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:

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Modern Jazz Fusion Chords:How to create them from scales

Posted on May 10, 2024May 20, 2024 by Modern Music Theory and Application

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Hi Guys,

Today, a look at how to create colourful and interesting jazz/fusion chords:

Because, we are dealing with jazz/fusion we will manipulate a scale in modal form. This will be C Mixolydian:

Now, let’s add one note above each note of the mode and create 3rds. [Here we can hear the mode in double stops].

Now, we will add another note a 5th above the root and create triads.

We have now harmonised the Mixolydian mode.

As you will hear it doesn’t sound very jazzy or have a fusion-esque sound.

So what do we do?

Well, we will add another note and manipulate the chord “Voicing’s”. Let’s exploit 4ths, flattened 5ths and Major 3rds.

Ascending Chord Scale:

Descending chord scale:

THE DORIAN MODE:

Now, we will apply this to the C Dorian Mode which has another flat note, this being Eb.

C Dorian Chord Scale : Harmonisation idea:

CREATING MUSIC:

Now, let’s play these chords in a sequence and make a bit of music from them:

EXAMPLE: Notice-Motifs and melodic movement from the chord voicings:

Melodic minor quartal harmonisation

Finally, to really get that “Fusion” exoticism let’s now exploit the melodic minor scale:

Below, we have the A melodic minor scale: Notice it’s just like the A Major scale but with the 3rd flattened: [In this case C natural]

Again, we will try out some ideas to harmonise the scale with some interesting chord voicing’s:

Here is a really nice set of chords built from from the scale.

jazz-fusion-guitar-chords-lesson-melodic-minor

From here it’s a good idea to play re-harmonised chords from chord scales in sequences like:

ii V7 I

Vi ii V I

iii Vi ii V7 I

IN CONCLUSION:

This was just a basic look at how to create interesting chords from scales and modes and how to create interesting and unique voicing’s.

At the end of the day it really comes down to your own ears and imagination and sense of creativity. But, this is how easy it is to create chords from scales and then put them into sequences for composition and re-harmonisation.

FREE PDF DOWNLOAD:

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