This paper explores the analytical system of Varvara Dernova, which was based on a concept known as dual-polarity. Dual-polarity is a theory of musical relationships developed by Boleslav Yavorsky around the turn of the 20th Century, centered around the possible resolutions of a tritone. From this theory, Dernova derives a dominant-seventh sonority with an altered fifth, and observes its application in Scriabin's transitional works as a foundational harmonic structure. After describing the origin of the "dual-polar" dominant and its tertian extensions, this paper reviews the "tritone link" and three "dual-polar" sequences that Dernova derives from the enharmonic respelling of that dual-polar dominant. Each of these concepts are demonstrable in the middle-period works of Alexander Scriabin, which was the focus of Dernova's dissertation.