Four preludes divided as follows:

No.1 in F# Major
No.2 in D major
No.3 in G major
No.4 in Ab Major

Never has a set of preludes been so modernist in this creative period. The first, with a Schumann-ian effervescence, is rather ambiguous about its major tonality. The second, made of harsh dissonance and almost atonal, contains the leitmotiv of the finale of Sonata No.3. The third, made of two gracious polyphonic lines, follows the same idea as the expressive Etude No.7 Op.25 of Chopin, in Scriabin’s favorite polyrhythm of five against three. The last, erratic and written in an exceptionally low register (low G in the bass—below the piano!)