Harmonic Spaces in Skrjabin's Late Music, in
of The Scriabin Society of America”, Vol.9, No.1, Winter 2004-2005, pp.
late Skrjabin's harmonic spaces are substantially based upon a French-sixth
harmony, where melodic figurations tending more and more to an augmented triad
superpose. This is evident all over Guirlandes, where the left hand articulates
tritone chords while the right hand works out figurations with persisting use
of augmented triads. With the elaboration and the development of these elements,
Skrjabin had already come to use all the twelve pc ofchromatic collection around 1910.
theorical implications of Skrjabin's harmonic system are nowadays being studied
by researchers. Infact, if the analysis of melodic and voice-leading movements
among the different harmonic spaces is inquired into by means of neo-riemannian
operations, the analysis of harmonic structures arisen from the use of these
spaces is subject of deep analysis particularly by the most advanced research