Brilliant analysis. Thanks for the hard work and sharing as well!

Love the analysis! This is currently my favourite Scriabin miniature. What I love about this dance is the connection to Scriabin's Mysterium text (according to Sabaneyev, Scriabin associated Flammes Sombres with the "Song-Dance of the Fallen" from his Mysterium libretto). A short passage from the text: Song-Dance of the Fallen We along paths, along pitted Paths covered in corpses Following two coupled whirlwinds We hurry a bewitched choir The stench of black blood we breathe There is lust for abominable delights We hurry in a flaming dance Dance-caress, dance-tale. To build filthy dens There to raise our thrones There to surrender to our passion Which has opened its bestial jaws to us We hurry swiftly along precipices Along gorges and along rifts Where the flowers of madness grow To surrender to them without hesitation Thus the spirit-wanderer through the thickets Raging, wildly celebrates His sacred rupture with heaven Obeying the black calls Be thrice accursed Loathsome countenance of terrible death By those ice holes into eternity Our carefreeness is disgusted After a brief communion with eternity The passions beckon towards incarnations With the songs of heaven, irksome to us Our songs are not consonant Insensible to the revelation of heaven Only corpses bring joy to us Only splashes of the black blood Of our abominable love We over corpses, we over corpses Hurry swiftly along ledges Closer to filthiness, closer to shame Soon the boundary walls of the temple will crash down.

Will you analyse the Op.73 No.1?

Love the analysis, thank you. Given your extensive study of Scriabin’s music, care to offer any thoughts on how the composer himself might have conceptualized pitch organization in his music? To me, he seems to think of these collections as colourful extensions of the dominant 7th sonority (I hear this even in many of his early pieces).

Great analysis!

These flames are not very somber Mr. Scriabin.

I wonder what WIM has to say about this analysis

2:34 because it's not a flat 9, it's a diminished 7th. You're analysing this chord from the bass. An amateur's error. Did you forget chord inversions exist? Did you think chords could not be inverted at the beginning measure and beat of a piece? The root of the chord is A, not F. And it's a Gb, not an F#. 3:04 I guess you still need better ears, there's a chord change on measure 3 beat 1. "But it's the same notes?" You may ask. But you fail to account for metric emphasis and literally anything other than rudimentary analysis on paper. The paper merely represents a small part of what the composer knows. You need to hear aswell.