The third movement is a seven-part rondo, and is reminiscent of Bartók’s later quartets in its dense counterpoint and clustered chromatic harmonies. Palindromes (favorite formal schemes of Bartók’s) are seldom absent, as well: the first section of my rondo uses a meter sequence of 7–5–3–1–3–5–7, correlating the entire rondo’s form of A–B–A–C–A–B–A.