Structural Analysis
The first section is, as mentioned, very mysterious, as Scriabin employs many tritones and seventh intervals which do not fall into the key of C♯ minor. The first 8 bars feature modulations to D sharp minor and F sharp minor. The ninth bar, marked con anima, introduces an E major melody using more conventional harmonies, but the piece only delves yet again deeper into the depths of the mystery four bars later. Here, marked fortississimo, the initial melody comes out in full force using the broad tessitura scope of the piano. At the seventeenth bar, the piece calms to quiet block chords of F♯ minor, C♯ minor-7, and B major-9 (without the bass B), finally resolving to an arpeggiated final C♯ minor chord, reminiscent of the ninth prelude immediately preceding this one. This shows Scriabin's ability to find commonality in his most diverse works.
Read more about this topic: Prelude Op. 11 No. 10 (Scriabin)
Famous quotes related to structural analysis:
“The reader uses his eyes as well as or instead of his ears and is in every way encouraged to take a more abstract view of the language he sees. The written or printed sentence lends itself to structural analysis as the spoken does not because the reader’s eye can play back and forth over the words, giving him time to divide the sentence into visually appreciated parts and to reflect on the grammatical function.”
—J. David Bolter (b. 1951)