  We present statistical evidence for the importance of the "mystic chord" in
Scriabin's Piano Sonata No. 5, Op. 53, from a computational and mathematical
counterpoint perspective. More specifically, we compute the effect sizes and
$\chi^{2}$ tests with respect to the distributions of counterpoint symmetries
in the Fuxian and mystic counterpoint worlds in two passages of the work, which
provide evidence of a qualitative change between them.
