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.