The piano is incredibly adept at changing moods suddenly and drastically; in one moment, it can be domineering and terrifying, and at the next, it can be delicate, docile, and nostalgic. The raga-based pitch language in this piece further enhances this through chromatic fluctuations that are akin to major and minor mode shifts. The piece’s five-movement structure is reminiscent of Bartok’s arch form, where the central movement is a centerpiece and the outer movements share similarities. Movements I and V are highly improvisatory in character and are loosely influenced by Bartok’s “Improvisations on a Hungarian Theme,” while Movement III has a more rigid rhythmic pace, at first light and playful but arriving at a thundering chordal ostinato. Movements II and IV function as interludes, exploring plucking and muting sounds as alternate sound-making techniques on the piano. This work was commissioned by my friend and colleague Michael Mizrahi.