the most wicked chord in existence.

[Derek]

is this not the most wicked chord on the planet?

lowest c
octave c
e above that c
f# above that e
another octave c

[Dazzer]

why? isn't that just a dim 5th?

the simp sonnsssssssssssssssssssssss

[Derek]

a diminished 5th with a major third stashed in between it, really low on the piano. it sounds relaly wicked that low.

[Dazzer]

if that's the case the simpsons must be evil then.

[Daevren]

The Prometheus chord in F#

[BoliverAllmon]

just a simple French aug. 6 chord. with the Bb missing.

boliver

[raymagini]

actually i think it would be an A#

(so then the C and A# make the augmented 6th, C and B flat would be a minor 7th)

[BoliverAllmon]

actually i think it would be an A#

(so then the C and A# make the augmented 6th, C and B flat would be a minor 7th)

nah think of it as C,E,Gb (not F#), and Bb. Hence the French +6.

[Nightscape]

There is no augmented sixth in Derek's original chord.  Therefore, it cannot be any type of augmented sixth chord.....  It's the equivalent of saying that C E G is a dominant seventh chord with the Bb omitted.

Derek's chord.... essentially C E F# is not a convential music theory chord.  If enharmonically spelled C E Gb it could be considered a type of triad, but not one likely to be found by itself.  On the other hand, if a piece contained a passage in the Lydian mode on C,  the C E F# could happen all the time, with F# usually being a passing or neighbor tone.  Also, this chord could function well in a whole-tone passage.... I'm you could find it in Debussy or other modern composers.

[Rach3]

Or, C-E-F# is just a second-inversion half-diminished seventh, with the third omitted. Notation would be vii*4/3   where the asterik replaces the circle with the line through it, which isn't in ASCII

(For a correct usage of this chord, refer to the last measure of the last movement of Prokofiev's last sonata [no. 9, C major])

nah think of it as C,E,Gb (not F#), and Bb. Hence the French +6.

You're absolutely right, it would have to be a Gb instead of an F#; which is precisely why it doesn't work. If the OP was thinking C E Gb, that would be second-inversion Fr+6 with omitted third, no problem.

There is no augmented sixth in Derek's original chord.

Actually, +6 would have been from the Gb to the E, it's second inversion. Correctly, it's a half-diminished 7th from F# to E, second inversion. Thirds can be omitted without penalty in seventh chords.

[BoliverAllmon]

Or, C-E-F# is just a second-inversion half-diminished seventh, with the third omitted. Notation would be vii*4/3   where the asterik replaces the circle with the line through it, which isn't in ASCII

(For a correct usage of this chord, refer to the last measure of the last movement of Prokofiev's last sonata [no. 9, C major])
You're absolutely right, it would have to be a Gb instead of an F#; which is precisely why it doesn't work. If the OP was thinking C E Gb, that would be second-inversion Fr+6 with omitted third, no problem.
 Actually, +6 would have been from the Gb to the E, it's second inversion. Correctly, it's a half-diminished 7th from F# to E, second inversion. Thirds can be omitted without penalty in seventh chords.

I guess it would be easier to determine which chord it is by looking at the sheets and seeing what proceeds and comes after the chord. the half dim. 7th chord is a real possibility.

[lostinidlewonder]

You have to love how Scriabin uses the Mystical Chords and utilises the 4ths through his writing.

[Derek]

I should have mentioned earlier ....I also find this chord most wicked when its played very quietly, and then play a melody with even more dissonance up above, but not far above it......sounds absolutely menacing 

[jbmajor]

The most wicked I've heard is something like a B sus2 with a double octave, all on the lowest register of the keyboard. 

I have no idea the correct naming of it, but this is it:

Lowest B octave + C# + F# +B +C#, all in a row.  The highest note is the C# an octave down from where middle C(#) is. 

You can hear this in Rach's Bminor prelude, op. 32 no. 10.