This composition was initially conceived as an experimental study in post-tonal counterpoint, predominantly utilising octatonic material, within the framework of an energetic baroque invention. The objective of the initial etude was to compose in a more “horizontal” manner, disregarding the vertical synchronisations of the contrapuntal lines, but rather, focussing on the shape of the line itself. Because of my concern with resolution of dissonance in my contrapuntal writing, I found this to be an interesting exercise, as I found out that due to the melodic shape of the line, attention was drawn away from the clashes, as the ear focuses on the linear aspect of the music. This study was later expanded into a three- movement neo-baroque suite based on developing variation of the opening material, through the addition of a lyrical intermezzo and a slower arioso, combining the octatonic material with chromatic and whole-tone collections. Although the movements are each predominantly in two voices, the contrapuntal density increases as the movements build to their own climaxes. The main theme highlights the prominence of the tri-tone, which is developed throughout the composition. The interval’s importance is reflected both motivically and in the tonal framework of the piece.