Largest and most popular set in Scriabin’s whole oeuvre, consisting of twenty-four short pieces :

No.1 : Vivace (C major)
No.2 : Allegretto (A minor)
No.3 : Vivo (G major)
No.4 : Lento (E minor)

No.5 : Andante cantabile (D major)
No.6 : Allegro (B minor)
No.7 : Allegro assai (A major)
No.8 : Allegro agitato (F♯ minor)
No.9 : Andantino (E major)
No.10 : Andante (C♯ minor)
No.11 : Allegro assai (B major)
No.12 : Andante (G♯ minor)
No.13 : Lento (G♭ major)
No.14 : Presto (E♭ minor)
No.15 : Lento (D♭ major)
No.16 : Misterioso (B♭ minor)
No.17 : Allegretto (A♭ major)
No.18 : Allegro agitato (F minor)
No.19 : Affettuoso (E♭ major)
No.20 : Appassionato (C Minor)
No.21 : Andante (B♭ major)
No.22 : Lento (G Minor)
No.23 : Vivo (F Major)

No.24 : Presto (D Minor)

Once again, we see a clear affiliation with Chopin, from whom he borrowed the organisation of tonality (major and minor relative following the circle of fifth) from his set of 24 Preludes Op.28. It is no coincidence that preludes form the largest body of work in Scriabin’s oeuvre, as he quickly developed a preference for brief forms - preludes being the most common aphorism amongst musical forms.

Although still rooted in late-Romantic harmonies, echoing Chopin, Rachmaninoff and Debussy, this set of preludes already presents deeply personal elements of Scriabin’s style :

• The first prelude in a constant 5 against 3 offbeat polyrythms, with delicate C major pentatonic colour.
• The fifteen prelude with the unusual 15/8 time signature.
• The last one full of quartal textures - the same that would later open the door to a new harmonic world.

Others features include misplaced accents, developed counterpoint, and grand dramatic intensity.

No.4 was initially a Ballad in B minor, of which a fragment from his youth (1887) has been preserved.

No.9 opens a new harmonically ambiguous world by avoiding the use of the third of the tonality until the very end, creating a calm yet unsettled atmosphere.

No.2 consists of repeated chords until exasperation - anticipating the crushing, fully-voiced climaxes that conclude many of Scriabin’s major works (e.g., Sonata No.4 Op.30).