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 Originally Posted by MadMojoMonkey
This Prokofiev piece reminds me of myself. I mean, I'm nowhere as developed as this - not even close - but I write piano music heavy in chromaticism while keeping the melody driving most of the time, w/ rhythmic breaks and syncopation that floods the sheet with ties when I step outside of the main flow.
I think I found a new friend.
***
Being violated means I liked it? What up with you guys? 
Seriously, though: that style of sexy-jazz makes me uncomfortable. I'm a bit of a prude.
um MMM my heart just skipped a beat. As I believe I've mentioned earlier in this thread, I've engaged in a rather torrid love affair with Prokofiev this year, and he is the only composer that I put on the rank of Beethoven as all-consuming musical idol. I'm continuously astonished every time I listen to him. I could go on forever, I'm consciously stopping here.
This song also reminds me of myself in terms of my identity. It's one of Prokofiev's earlier pieces (I believe he wrote it while attending conservatory) so he hasn't really figured out space yet. It also adheres to traditional harmony way more. (I mean check out Sonata 8, Movement III - it's straight up prog rock) It's an overwhelming torrent, constantly checking and agonizing over itself and like, goes into these insane rapid modulating fractals, it's fucking nuts. Anyway that resonates because I'm easily excitable and forget to breath, haha. I identify with him from a compositional standpoint too -- he's taught me a lot this year.
A lot of people refer to Prokofiev as an atonal composer, but I don't think he was. He was the master at synergizing chromaticism and diatonicism.
From this book:
Unlike the atonalists, who seek to destroy the tonal foundations of music, Prokofiev consistently advocated clear-cut, functional harmony.
“The construction of a composition on a tonal basis may be compared to building on rock, whereas construction without a tonal basis is like building on sand,” he maintained. “Tonal and diatonic music has much greater possibilities than music that is atonal and chromatic.”
I'm reading this long ass dissertation by Deborah Rifkin called "A Theory of Motives for Prokofiev's Music." It's basically a dense music theory analysis of how Prokofiev's use of "wrong notes" actually participates in tonal coherence, rather than being anomalous to the structure. Let me know if you're interested, I'll send it to you. Prokofiev has posed a big problem for music analysts over the decades, and for a very long time, no one could offer any real compelling analysis of Prokofiev's startlingly original compositions. Not that I've been studying Prokofiev for years or anything, but Rifkin seems like the most accomplished person doing this level of analysis on Prokofiev.
Anyway, yeah. Prokofiev=A+++
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AINT SHOVELING SHIT
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