According to Samson, while the sonata-form of Scriabin's Sonata No. 5 has some meaning to the work's tonal structure, in his Sonata No. 6 and Sonata No. 7 formal tensions are created by the absence of harmonic contrast and "between the cumulative momentum of the music, usually achieved by textural rather than harmonic means, and the formal constraints of the tripartite mould".
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