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Discussion in 'Technique' started by Biggemski, Jan 17, 2009.

  1. Biggemski

    Biggemski New Member

    Jan 26, 2007
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  2. aryobrand

    aryobrand New Member

    Oct 20, 2008
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    currently California, USA
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    Do what thou wilt shall be the whole of the Law.

    I think you're trying to ask: "Can anybody advise me on mastering this legendary piece?", and if that is the case ... ask for advice on Scriabin and you get it. :)

    My first point of advice is: Don't play it as AWFULLY as Vitalij Margulis plays it!!! Sorry if I've offended any of his fans (kind of, not really though :lol: ). The reason that I think his version is awful is that he practically ignores everything that Scriabin wrote on the page. His tempo is all over the place, the subtle rhythms that Scriabin lays down are gone from his version. I can't understand why so many people feel that Scriabin would go through so much trouble and effort to figure out exactly where each note should go within the measure - even breaking it down into five-against-thirteen-against-nine (etc) just to have it played in 3/4, for example, or worse in "no tempo". Vers La Flamme is actually one of my favourite Scriabin pieces (along with several others) and the beginning steady tempo in nine was at least fifty years ahead of its time, for that's how long it would take before Dave Brubeck, Miles Davis, and the like would appear and lay down similar beats. If you take the rhythm too far in that direction you can even hear the brushes on the high-hat coupled with the occasional rim-shot. :lol:

    Pay particular attention to the rhythms at all points. If you're already well versed in polyrhythms (playing in two different tempo figures simultaneously - without having an easy common denominator with which to work), then remember to keep the voicings separate when he builds up further rhythms over the top of the old ones. If you haven't worked with polyrhythmic music that much then my advice would be to separate out the different melodies and play them separately; just as one would play hands separate. After you get the feel for the entirety, then begin to pay more attention to the dynamic interchange and Scriabin's unique melodic colours of his craft - continuing to shape the piece, reflecting on the title "Towards(ou peut-etre)Around the Flame" and its meaning in terms of Scriabin's beliefs. Then if you really want to master the piece, cast a circle in a graveyard at midnight and call forth with upraised wand the lords of the crossroads to bring forth the soul of Scriabin to visible appearance ... :oops: ... Oops! ... that would be for a different forum, what I mean is explore the sense of the piece through reflection or meditation. I think I better quit while I'm still ahead! ... (am I?)

    You may find that after you've mastered the rhythms 8), the melodies might demand slight variance in ritardando or accelerando - I would personally treat all such departures from the score only in the sense of what's commonly called a "Chopin rubato" lest a ritardando of one voicing obliterate a second or third voicing!! I don't currently have the score in front of me but I also remember some fairly difficult arpeggios or something which must NEVER fall out of the beat, or it brings disaster to the melody. If you're interested in what I've said so far, I might add more (and actually search out the score from my library.) Just start out taking it slow in steady tempo and this piece falls in to place much quicker than others by Scriabin. The best of luck!

    Love is the law, love under will.

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