One of my favorite Scriabin sonatas as well!

Yea I’ve started learning it from the beginning recently. The polyrhythms and layered melodies are nuts!

Mmm I see what you mean. It does roughly resemble E harmonic minor, but that raised 4th scale degree (A#) makes it not fit into that scale. I feel like it’s intentionally not a subset of anything else. Whenever he invokes this chord it’s like a mysterious vortex appears.

The key of the piece is G lydian augmented, the opening chord is VIb12 you were pretty close to getting it right.

@@jaybeardmusic8074 that raised fourth degree is a flattened fifth degree. Set theory just tells you that they're the same, while your ears reveal another truth.

Thank you! Cheers!

definitely not

Yea you could say C major 7 plus Eb! That would be an accurate interpretation, and even useful for remembering it, but I like how set theory allows us to interpret the entire chord as one rather than dividing it into two. Helps for the later manifestations of this set.

Polychords don't exist, it's a pseudoscience. Also, it couldn't even be an Eb chord, because D# and Eb are different notes

"Who knows" Everything seems abstract when you look at the world through a kaleidoscope. It's literally just a root position minor vi chord. Nothing more, nothing less. He just uses a b12 and doubling of the third to anchor G as the tonic of the key.

​@@Whatismusic123Lol dude you have got to get a life I beg of you

@@nicholas72611 I beg of you to not fall for the cult of modern art, and also, please delete the videos on your channels showcasing that garbage.

Those are Forte numbers from set theory that tells us what set a group of pitches belong to (which is like a scale but refers to any manifestation/mode of a given scale). I have a whole series on my channel called set theory simplified if you’re interested.

How would you analyze the opening chord?

@@jaybeardmusic8074 using classial harmony, you know, the exact same thing scriabin used, and a system of analysis that is irreplacable, because it literally just observes factual phenomena of music.

Set theory provides factual information as well. So how would you call the first chord then?

@@jaybeardmusic8074 the first chord, in a G lydian augmented, is vi⁶⁷b12, next is played, in a very standard circle of fifths progression, II11. you see how simple this harmony actually is? literally all you have to do is use your ears. all set theory provides is letting you put a name on everything... except it doesn't, because AFAIK it doesn't distinguish between sharps and flats which means that no, it does not provide factual information, (fx the vi⁶⁷b12 chord). it's literally just a way for you to say: "I get the reference!!!" it's equally as useful when analyzing scriabin as it is when analysing mozart, not at all.

@@jaybeardmusic8074 Also, a huge problem with all your analysis of scriabin, is that you for some odd reason think he is atonal, which he is not, and it's honestly incredible how you've come to such a ridiculous conclusion. Some people really need to learn a basic concept: analysing their hearing, a tonal center isn't something you make up, it's something the brain automatically determines, and something that is consistent amongst every single person. Person A isn't gonna hear a piece in G major, while person B hears it in E minor, no, everyone hears music the same. You need to learn to recognize the tonal center of music you listen to, including scriabin, it really isn't very hard, you probably do it automatically when sight singing.