I wrote this for a music course I took, "tonality at the fringes". here's the short essay I submitted with the piece:

This is a collection of three short preludes for piano in the style of the Scriabin op. 31 and 39 preludes we studied in class. My aim was to recreate Scriabin’s harmonic language by identifying and experimenting with a few specific techniques demonstrated in the preludes. The pieces are varyingly successful at this; I elaborate on them in the order they appear on the score, which is also the order in which they were composed.
The first prelude harmonizes a melody in two different ways. The melody is characterized by phrases that start with motion by a semitone followed by a wider interval. Unlike most of the Scriabin preludes, neither the melody nor the harmonization have a clear tonal center at any point; thus, this was mainly an exercise in Scriabin-esque sonorities and harmonic progressions, but failed to achieve a more coherent overall harmonic structure. As far as the sonorities, I tried to restrain myself from using many “open” voicings with perfect 4ths and 5ths, instead applying mostly dominant/augmented/diminished-sounding harmonies with some more consonant major/minor-sounding harmonies for contrast.
The second prelude is faster. We did not study any of the faster preludes in class, but there are a few among the op. 31 and 39 preludes. The use of texture, register, etc. in these reminded me of Chopin; so for this prelude I used a Chopin-esque waltz arrangement and melody with a more apparent tonal center, but tried to apply unexpected harmonies to the melody. The root motion in the first section is relatively standard, but some of the chords are altered chromatically; in the second section the root motion is less predictable, culminating in a chromatic climb towards a jarringly tonal cadence. I noticed that some of the Scriabin preludes resolve unexpectedly in this way, returning to the tonic after harmonic explorations, so both of my phrases in this prelude end on more conventional cadences.
The third prelude has a similar format to the first but expresses a tonic somewhat more clearly with its root motion. There is an abundance of D and G in the bass, with the first phrase ending on D and the second phrase ending on G, providing an overall impression of G minor. In the second phrase I experimented with a sparser texture, thinking of the prelude we studied which had segments of un-harmonized melody.