Lugansky - Rachmaninoff, Étude-Tableau, Appassionato (Op. 39, No. 5) 

A vid? Or individual by individual? And yes I want to study this piece thoroughly. I'm seeing some mood changes representational of what Rach was going through. Escaped to Paris, head turned over his shoulder towards Holy Russia knee deep in blood. The revolutionary waves start out not overwhelming but fade then come back stronger than before. The anguish of being swept up in a genocide follows. Then where the melody is played in the left hand and the chords in soprano register - I think most don't get this part- the left hand is normal life being subducted and the right hand IS the melody. Each time that chord comes down it is the victims and about to be victims shrieking DON'T! DON'T! DON'T! then a teaser denouement, Maj for a beat and a half or so , God's peace to the dead. But the rest of us are still alive, some clashing moments adjusting to the new regime. Then resignation as the only way to survive. The End. I'm poor. On disability. The electronics on my digital piano don't work. Still willing to help me dive deeper into #5?

dont correlate jazz and rach i know they are related but rach is transcendence compared to modern jazz

@@matthewpachev8221 No. I happened to be reading through Rach etudes-tableaux. I attended a great conservatory for my masters and understand theory. I've analyzed Gaspard de la Nuit from multiple angles, performed it and many other difficult works. I will analyze and say exactly what is happening because I know. For example, most Chopin etudes consist of simple chords; that's why we analyze with figured bass. Opus 10 no 1? Nearly all major and minor chords but arpeggiated. Op 25 no 1? Same thing. But the genius is not necessarily in the harmony for these- it's in the register, texture and the lines. The same can be said about Rachmaninoff, who by the way, is my hero. You're also being very dismissive of "modern jazz", as if it's a single genre. Jazz is likely the broadest genre out there. Like it or not, Ravel and Rachmaninoff were also influenced by their contemporary jazz, as jazz was by classical, particularly Debussy.

@@blackscreen7994 Not with 9ths. There was never music before the romantic period that had these jazz progressions with 9ths. That was pioneered by the French and borrowed from great composers and jazzers, as great composers do. Even Beethoven, who was ahead of his time only made use of 9th chords in isolation in his later sonatas- never connecting 3 6 2 5 1's with color tones. It is 100% jazz theory and voicing for moments of op 39 no 5, with Rachmaninoff's genial texture and chromaticism.

@@musicsdarkangelDo you actually play jazz though? You can study jazz theory all day in books but, these chords sound like normal rach/late-romanticism harmony. 9ths aren't jazz chords automatically, there's a Db13 at the end but again that's not a jazz Db13. Jazz harmony is known for free coloration of chords...whereas this sounds like functional coloration of chords. Which is bit different.

0:03 ;

True

Those program notes came with the Études-Tableaux CD (1993.)

Never thought that. But perhaps that is true! Interesting

Interesting! Do you have a source for that?