Called �Reflections�, the piece was designed to reflect differently on both the harmonic and melodic treatments of the same mode. The clearest iteration of the original mode occurs at C, with the iteration of the complement occurring just before E. When composing this piece, I wanted to emphasise contrast and equally, similarities between each part of the piece. That is, when considering a mode and its complement, I wanted to think about the different characteristics of each and thus realise them by different harmonic and melodic treatment. The motif introduced in the first few bars outlines the progression of the rest of the piece, with the suspended second being a primary focus for many of the other �sections� and parts. It can be loosely considered in sonata form; the different �sections� joining together to form a perceived exposition, development and recapitulation, with letter D forming the pinnacle of the development.

This piece is a response to the emphasis on particular intervals heard in Debussy and the focus on melodic material moving across hands seen in Liszt�s virtuosic piano music. The divide between the two hands is quite prominent; the melody occurs sporadically in both but in the beginning and ending, the left hand takes a very accompanimental role, with all melodic interest in the right hand. This divide emphasises the contrasting ideas and the apparent shift of emphasis when it does actually occur.