Last grand collection of dances, divided in nines pieces :

No.1 in F minor
No.2 in C major
No.3 in E minor
No.4 in E major
No.5 in C# minor
No.6 in F# major
No.7 in F# minor
No.8 in B major
No.9 in Eb minor

Powerful and animated with Slavic textures—something rather rare in Scriabin’s output despite his origins—these pieces were composed ten years after the earlier set of 10 Mazurkas, Op. 3, and offer far greater refinement in both harmony and melodic line. They are likely the last “danceable” works in Scriabin’s catalogue, as he would increasingly come to conceptualize “dance” in more spiritual or symbolic ways.

No. 2, with its nonchalant melodies and minimalistic writing, almost conveys the feel of jazz improvisation.

No. 3, with its extended harmonies, already sounds like the Scriabin of the second period (beginning with Op. 30).

No. 1 features one of Scriabin’s favorite motivic ideas: an ascending leap of a fourth followed by descending chromatic repeated notes. This motive forms the basis of Sonata No. 3, the finale of Sonata No. 4, and several other works.