Attached are (another) three preludes for piano that I had done a long time ago, recently revised as to make them more pianistic and playable. They are more or less minute-long trifles taking a lot of inspiration from Scriabin (though the last one is based on an easy listening song of some sort), and sharing quite a few thematic elements (such that they might even make some sort of off-kilter 'sonatina). Do enjoy.

Hi Affinity,
I've just listened to your 3 "trifles." I have to admit that my overwhelming response is one of a subdued "huh?" I know fully that atonal or serial works (which these seem to be) are difficult to comprehend, but these are leaving me in a state of no apprehension (Dictionary: 2. the faculty or act of apprehending, especially intuitive understanding; perception on a direct and immediate level. 3. acceptance of or receptivity to information without passing judgment on its validity, often without complete comprehension.). To be fair, I do appreciate the repetitive [melodic] gestures in each, but this set just doesn't engage me. Sorry not to be more encouraging.

They did not do much for me either. I must admit though I'm no great lover of Scriabin (except for the early works) so anything written in that spirit is probably wasted on me. Also, not sure why, I'm always a bit wary of fledgling composers seeking to emulate Chopin or Scriabin.
IIRC I was more positive about some of your previous submissions that showed more individuality and purpose. I'd say, be your own man first of all. Easy to say though, I guess this may well be the hardest and most frustrating part of composing....

Hmm, interesting responses. I guess imitation is the means by which every composer learns his craft, and Scriabin's frequent use of the diminished fourth in his later years was somewhat enthralling for me as it was for many others. Trying to emulate the harmonies (as well as the whole-tone scale) without the intricacies involved was probably what got me around to composing the set, which might explain the lack of apprehension (as musical-md calls it), though I would think that the pieces' motivic development and general plan were mine. As for them lacking a bit of purpose, No. 1 and 2 are based on a melodic idea stated once, then elaborated, then transited back to with a turn of the major mode (e.g compare b.8 and 13 of No. 1), while No.3 is more of a Intro ABAB Coda piece, but perhaps there was something lacking in the translation of promising ideas into the actual music this time. I still do have a fond attachment for the melody and the cogency of No. 1 though..., but again, thanks for the feedback.

But those were usually framed by augmented 4ths (tritones). His language was not so much about an interval as it was a quartal chord.