Notes for admissions committee:

Borrowing lessons from Vincent Persichetti’s Twentieth-Century Harmony, my piece Fuga Impetuosa began my first serious study into polytonal counterpoint. Specifically, I treat the union of two or more melodic lines moving in similar motion as a single fugal “voice” which, when interacting with other similar “voices”, allows for several new sound combinations within a contrapuntal context.

There are many ideas in this piece I would like to explore further, both within future compositions and in academic research.