AffetmiyorumAffet Alexander Scriabin! Prometheus akoru ve felsefede ‘armoni’ ( uyum ) kavramı

AffetmiyorumAffet Alexander Scriabin!

Rus Müzik Derneği’ndeydik, kapı açıldı ve arkasında bozuk bir cep piyanosu taşıyan bir görevliyle Scriabin diye birisi geldi, biraz konuştuk, bize op. 62 no.6 piyano sonatından bahsediyor, birazdan bu bozuk cep piyanosu ile onu çalacağını anlatıyordu tedirgin bir tavırla. Dediğine göre bir armoni yöntemi bulmuş, dörtlü aralıklarla yapılması gerekiyormuş.

Bölüm 1

Scriabin etrafına bakınıyor ama pek konuşmuyordu, zaten onun kendisini bir sanat mesihi olarak gördüğünü düşünüyordum, sürekli 7 gün sürecek bir ayin yapmaktan bahsediyor başka da fazla bir şey söylemiyordu, dans, koku, renk, ton ve hareketli mimari parçalardan oluşacak senfonik bir şey yapmaktan bahsediyordu, dediğine göre bunu Hindistan’da yarım ay biçiminde bir tapınakta yapmayı planlıyordu. Kenarda görevli piyanoyu bir köşeye koymaya çalışırken:
“Oktatonik yapıda bir zincir gamı buldum,” diyordu, “bu sonat tek bölümlü şu an.”
Kayak yapmaya gideceğimiz için onu fazla dinlemedik, bir an önce çalmasını ve bir an önce buradan çıkmayı düşünüyorduk, piyanonun başına geçti ve biraz tıngırdattı:
“İyi ama sonat formu var işte bunun altında,” dedim sakin bir ses tonuyla,
“Evet biraz var ama bölüm orantılarını değiştirdim ve bölüm işlenişlerini başka yollardan yaptım…”
“Neyin başka yolu Scribo,” dedi derneğin sekreteri, “Tek bölüm dedin ama bunu da içinde bölümlere ayırmışsın, acelemiz var zaten, şu kısmı çal bakalım bir daha…”
Scriabin biraz daha piyanoyu tıngırdattı,

 

AffetmiyorumAffet Alexander Scriabin-6-1

AffetmiyorumAffet Alexander Scriabin – Scribo’nun Sinestezi Vaziyeti

“İşte tek bölüm içinde bölümler var burada, ara vermesen de yine sonat formu bölümlerini kullanmışsın…”
Bunu fark ettiğimizi görünce Scribo açıklama yapmak zorunda kaldı:
“Dediğiniz doğru aslında, işlediğim üç tema var, buna göre bölümlere ayırmıştım bu tekli sonatı…”
“Tek bölüm çalacağını söyledin üç bölüm çıktı…Bu bölümler nedir Scribo?” diye sordu dernek sekreteri, bir an önce bu piyano temsilinin bitmesini ve keman dersi alacak kızını okuldan almayı istiyordu.
“Bir bölümde mistisizmi işledim, sonra rüya ve şeytanı,” dedi Scriabin tedirgin bir ses tonuyla,
“İyi de bu şey çok atonal Scribo, hiç ton bulamadın mı, o kadar ton ayarlamaya uğraştı Bach?”
“Maalesef bulamadım ama epey aradım…”
Dernek sekreteri içerideki görevliye dönerek:
“Elimizde hangi tonlar var?” diye sordu sakin bir ses tonuyla.
Görevli yan taraftaki masanın üzerinden bir kağıdı çekti, kağıda bir süre baktıktan sonra: “Sadece do diyez minör var, onu da Melahat hanım bu hafta sonu kanun dinletisinde kullanmayı düşünüyor, ama henüz istemedi, sadece notu düşülmüş…”

AffetmiyorumAffet Prometheus Akoru!

“Do diyez mi, ama sadece do diyez yetmez ki, prometheus akorunu kurmak gerek, başka ton alamaz mıyım?”
“Prometheus mu, o da nedir Scribo, durduk yere armoni üretip duruyorsun, daha Bach’ınkiler yeterince kullanılmamışken bu kadar armoni ne işe yarayacak?”
“Prometheus şu,” dedi Scriabin ve piyanoda bazı notalara bastı.

AffetmiyorumAffet Alexander Scriabin!

AffetmiyorumAffet Alexander Scriabin!

Piyano Sonatı No.5, Op.53. Mm. 262-263

Piyano Sonatı No.5, Op.53. Mm. 262-263

Baskın Sentetik Akor

Baskın Sentetik Akor

Mistik, sentetik bir akordur, bazen Prometheus ölçeği olarak da adlandırılan bu notalarını türeten ölçekleme dizisi

Mistik, sentetik bir akordur, bazen Prometheus ölçeği olarak da adlandırılan bu notalarını türeten ölçekleme dizisi

Duke Ellington'ın piyano parçası Reflections in D (1958) 'te baskın bir akor olarak mistik-prometheus akorun kullanımı. Bu durumda, V / V kullanımı. E dominant 9'uncu akoru, konvansiyonel olarak ilerlemek üzere 11 ve 13'üncü ek notalar.

Duke Ellington’ın piyano parçası Reflections in D (1958) ‘te baskın bir akor olarak mistik-prometheus akorun kullanımı. Bu durumda, V / V kullanımı. E dominant 9’uncu akoru, konvansiyonel olarak ilerlemek üzere 11 ve 13’üncü ek notalar.

“Bir daha öttür bakalım şunu Scribo,” dedim düşünceli bir ses tonuyla, “Kamyon geçiyordu pek bir şey duyamadım.”
Scriabin tekrar piyanoyu tıngırdatmaya başladı:


“Sadece bununla olmaz Scribo, sen yine Bach’tan birşeyler kullan, sana do diyez ve fa majör verelim, kefil bırakırsan başka tonlardan da verebiliriz…”
Scriabin bu teklife itiraz etmedi ve böylece onun ilk atonal sonatına tonal yaklaşımları dahil ettik. Sonat dikkatli dinlenirse içerisinde çok fazla tonal yaklaşım olduğu fark edilecektir.
“Majör mü, minör mü kullanırsın,” diye sormuştu dernek sekreteri, ama Scriabin:
“İkisi de olur, tonal yaklaşımlarım olacak ama majör minörle uğraşamam.” deyince fazla ısrar edilmedi.
Zaten sonat dikkatli dinlenirse tonal yaklaşımlar olsa da majör ve minör diye bir kavramın pek olmadığı fark edilecektir.
Bir ara Scriabin’e bakarak:
“Şu kısmı bir daha öttürür müsün azizim, ilginç bir melodik yapı var burada,” dedim telleri kopmak üzere olan cep piyanosuna bakarak.
Scriabin o kısmı piyanoda biraz tıngırdattı:
“Aslında tını dalgaları nedeniyle bu hücreleri kullanıyorum…”
“Doğru Scribo, aslında biraz daha dinleyince insanın içi burkuluyor burada, çok tedirgin eden, epey karanlık bir şeyler var burada, bunu anlamak epey güç, senin de anlamış olduğundan pek emin değilim bunu…”
“Neyi?”
“İşte söylediğim bu şeyi…”
Hatta geçen gün Brows diye birisi geldi derneğe, kızına flüt dersi aldırmak istiyormuş, o söylemişti, sen bir ara bu çok seyrek çaldığın sonatı arkadaş çevrende yine çalmışsın ve eserini bitirdikten sonra odanın bir kenarına geçerek derin düşüncelere dalmışsın…”
“Peki başka bir şey söyledi mi Brows, kendisini tanırım, gayda dersi vermemi istemişti ama hiç gaydayla uğraşmadım…”
“Odanın köşesinde geçip derin düşüncelere daldığın zaman yüzündeki ifadenin iğreti bir hal aldığını söyledi…”
“Sahi mi?”
“Öyle Scribo, ama sonatın gördüğüm kadarıyla sergi, sergi gelişimi, sonra tekrar sergiye dönüş ve bir coda dan ibaret…”
“Peki ne yapmalıyım?”
“Biz Prometheus dağına kayak yapmaya gidiyoruz, bizimle gelmek istemezsin değil mi?

AffetmiyorumAffet Alexander Scriabin!

AFFETMEYEN KRİTİK

Felsefede uyum kavramının derinlerine inmeden önce beden ve zihin arasındaki uyuma bir göz atmaya kalktığımızda Leibniz’den biraz bahsetmek gerekir, monadların yılmaz savunucusu Leibniz’e göre doğada nitelin yanında nicelin de büyük bir önemi vardır, monadların belirli derecelendirmelerle birbirinden ayrıldığını ve hepsinin aslında birbirinden farklı olduğunu söyler, onun süreklilik prensibi ile; bitkileri, hayvanları, madenleri ve insanları sınıflandırması biyoloji felsefesi açısından epey önemlidir, bu yöntem ile bütün varlıklar hiyerarşik bir sıraya dizilir, Leibniz baştan düzenlenmiş uyum modeli üzerinden hareket ettiği için onun varlık felsefesinde uyum, önkabulleri olan bir kavrama işaret eder…

 

Leibniz ontolojisinde Tanrı, tüm varlıkların var oluşunun temel kaynağıdır, o nedenle tüm monadların ve onların arasındaki uyumun kaynağı da Tanrıdır, Leibniz, mutlak kudrete sahip olmasına rağmen Tanrı’nın evrene sürekli müdahalede bulunmadığını söyler, Tanrı uyumun olduğu o ilk anda, en başta gerekli olan tüm müdahaleleri mutlak bir uyuma ve mükemmele varacak biçimde yaptığı için artık müdahale etmesine gerek yoktur.

 

Descartes’tan sonra şu sorunun cevabı sürekli sorulmuştu: maddi beden ile zihin (ruh) nasıl uyum sağlamaktadır?

 

Okkasyonalistler, ara nedenciler zihin ve beden arasındaki uyumun Tanrı’nın her an müdahalesiyle gerçekleştiği söyler, Leibniz’e göre  ise yukarıda da söylediğimiz gibi  Tanrı, evrenin başlangıcında bir uyum sistemi yaratmıştır; birbirinden bağımsız olan zihin  ve beden arasındaki uyum bu sayede sağlanır. Monadlar”ın arasındaki uyum da başlangıçta sağlanmış olan bu uyum ile gerçekleşir, peki seslerin arasındaki akustik uyum ile monadlar arasındaki uyumu karşılaştırırsak nereye varırız?

 

Bach’ın son dönem eserlerinin bitiş bölümlerinde yoğun olarak duyulan kromatizm ile monadlar arasında ne tür bağlar kurabiliriz?

 

İnsan doğası uyum peşinde midir yoksa uyumsuzluğun içerisindeki uyumu bulmak onun için daha mı önemlidir?

 

Ya on iki ton müziği içerisindeki yoğun uyumsuz uyuma ne demeli? Stravinsky atonal müzik mi yapıyordu yoksa aslında bir anti-tonal müzik arayışı içerisinde miydi?

GÜNCELLENİYOR…

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