Piano Sonata No. 6 was written around the same time as Piano Sonata No. 7. Scriabin particularly loved Sonata No. 7 and frequently performed it in concerts, but on the other hand, he feared the demonic power of Sonata No. 6 and never played it in public.

Piano Sonata No. 6 (single movement) is written within the framework of sonata form. Regarding harmony, similar to how Prometheus is constructed from the 'mystic chord,' the 'octatonic scale' (an eight-note scale consisting of alternating whole and half steps) is primarily used.

Exposition (Measures 1–123)

In the first theme at the beginning of the exposition (measures 1–123), characteristic leaps of a major ninth are repeated. As suggested by the expressive indication (étrange, ailé – strange, winged), this is connected to the idea of 'agile female creatures with wings and joints,' neither elf nor insect, depicted in works such as Étrangeté Op. 63 No. 2. The latter half of the first theme (measures 11–14) contains elements of the octatonic scale (F, G, A♭, B, C♭, D♭) in its melody.

The delicate and sweet second theme (measures 39–46) is soon combined with various transformations. The varied rhythms and ascending passages, reminiscent of flight, are also related to the aforementioned idea. In conjunction with these musical expressions, this idea plays a significant role throughout the sonata. At the end of the exposition, the octatonic motif is fully developed, creating a climax.

Development (Measures 124–206)

The development section (measures 124–206) begins with a phrase composed of motifs from both themes (connected to the aforementioned idea). Eventually, the second theme (from measure 158) appears, combined with ornamental figures (such as trills and tremolos) that express radiance. Towards the end of the development, the first theme (latter half) appears in a frenzied transformation. Its octatonic motif expands, leading into the recapitulation at the peak of frenzy.

Recapitulation (Measures 207–297)

In the recapitulation (measures 207–297), the exposition is repeated a major second/diminished third lower. Ornamental figures are added to the second theme, expressing radiance.

Coda (Measures 298–386)

The coda (measures 298–386) introduces a Dionysian dance scene intermingled with terror. Both themes become fragmented and rhythmically agile transformations, repeating ascents and descents, passing by dizzyingly.