This fugue starts with a theme based upon figuration of a scale. The subject maybe regarded as very long, or containing two countermelodies. Because the initial theme requires time to spin itself out, the fugue offers many opportunities for variation. Three melodies combine with ebb and flow in the play of these themes. The ending is a gentle celebration of the entire work. This fugue is also a rondo, loosely.

Those who have heard this comment, "I felt transported." "How beautiful." "I like the way the first and very catchy theme comes back again and again." "I am without words."

The movement was to be the first in this symphony, however, fell into the fourth slot as it evolved.

My writing is an original mix of technique. I use melody to generate the movement/motivation of a work. From the combination of sounds develops the harmonies, which I adjust as I wish to accommodate progressions. Harmonic progression itself is not treated in lock step chord to chord, rather by areas suggested by the motivic movement. Voice leading becomes important in this process, but not paramount. Sometimes a voice will be interrupted by the necessity of melodic movement, only to be fulfilled or resolved later. Most larger intervals are regarded/treated as their smaller inversions. The complex chord, that is thirds extended through two octaves is considered, as are polytonal moments. Lastly, all of these are subject to the scale/tonality in effect that the time. Dorian, Mixolydian, Blues, etc all reshape the music. I start with a solid progression and exploit the material subsequently. This makes for dissonance in places, unfamiliar progression, unusual use. However, the resolutions, through sometimes delayed bring the music to an achievable goals.