Now we will present the use of polychords in a piano composition of mine.

We provide the audio and show the score here:

The polychords appear from the very beginning. The first measures display them; according to Persichetti (1985), it is advisable that the lower chord have the voices as open as possible to avoid sounding too “muddy.” In this piece, instead of using a block chord, we limit the left hand to bass notes on the root and fifth of a C major chord. It is worth mentioning that these are the only bass notes used throughout the entire piece.

The right hand of the piano presents the upper chord; the progression goes A, B, D, F, and C. In measure 5, the theme changes but continues the idea of polychords: C, D, B♭, and C appear in the right hand.

In measure 9, there is a third theme that creates a kind of 3-against-2 polyrhythm; the bass continues alternating between C and E, while the right hand insists on a B♭. From there, the piece moves forward until measure 13, where the initial themes return.

Measure 27 introduces a melodic idea moving toward the Lydian mode of C. It can be seen that the chord in the bass remains insistent: a C major chord. Finally, the piece closes by revisiting the first two themes and resolving on C, giving a sense of tonality.