Reflected Arcs is my first piece to make a thorough exploration of musical symmetry and reflections. Much like seeing our reversed reflection in a mirror, the reflections in the piece are instances in which a material is repeated, but one significant parameter is reversed. For example, the fourth movement is the same material as the second, but the register has been flipped from high to low. The relationship between the violin and piano is established in the first movement and inverted in the fifth. The entire piece forms a loose palindrome, but the second half is marked by a reflection of the violin’s dynamic range, as controlled by a metal practice mute. Structurally, Reflected Arcs is supported by its polarity, a balance of opposing forces.