Mystic chord
Introduction
The mystic chord, also known as the Prometheus chord, is a six-note synthetic chord and pitch collection that was used prominently by the Russian composer Alexander Scriabin. This chord is a cornerstone of Scriabin's later harmonic language and is emblematic of his innovative approach to harmony and form. The mystic chord is typically spelled as C, F♯, B♭, E, A, D, though it can be transposed or reordered in various ways. This chord is notable for its lack of a clear tonal center, which contributes to its ethereal and ambiguous quality.
Historical Context
The mystic chord emerged during a period of intense experimentation in Western music, particularly in the late 19th and early 20th centuries. Composers were exploring new harmonic languages that moved beyond the traditional tonality of the Common Practice Period. Scriabin, influenced by the Symbolist movement and Theosophy, sought to create a musical language that transcended conventional harmonic structures. The mystic chord became a fundamental element in this quest, representing Scriabin's vision of a new, mystical form of music.
Structure and Analysis
The mystic chord can be analyzed in several ways, reflecting its complex and multifaceted nature. One common interpretation is to view it as a stack of fourths: C, F♯, B♭, E, A, D. This quartal harmony is a departure from the tertian harmony that dominates Western music. The chord can also be seen as a subset of the octatonic scale, which consists of alternating whole and half steps. This connection to the octatonic scale further emphasizes the chord's ambiguity and lack of a tonal center.
Usage in Scriabin's Works
Scriabin employed the mystic chord extensively in his later compositions, most notably in his orchestral work "Prometheus: The Poem of Fire," Op. 60. In this piece, the chord serves as a harmonic foundation, creating a sense of otherworldliness and transcendence. The mystic chord is also present in Scriabin's piano sonatas, such as the Sonata No. 7, Op. 64, where it is used to evoke mystical and spiritual themes.
Theoretical Implications
The mystic chord challenges traditional notions of harmony and tonality. Its use of quartal harmony and lack of a clear tonal center make it a precursor to later 20th-century developments, such as atonality and serialism. The chord's structure allows for a wide range of interpretations and transformations, making it a versatile tool for composers seeking to explore new harmonic territories.
Influence and Legacy
The mystic chord has had a lasting impact on the development of modern music. Its innovative structure and use in Scriabin's works have inspired numerous composers, including Olivier Messiaen, who incorporated similar harmonic techniques in his own compositions. The chord's influence can also be seen in the works of Igor Stravinsky, Béla Bartók, and other composers who sought to expand the boundaries of harmonic language.