This is a set of short, whimsical country dances for the piano. They are stylistically inspired by the mazurkas of Polish Romantic composer Frederic Chopin. Unlike Chopin’s mazurkas, however, my pieces contain dissonances and harmonies reminiscent of the Russian Neoclassical composer Sergei Prokofiev’s music. More importantly, Three Mazurkas incorporates a cyclical element in which the melodic and rhythmical motives serve to connect each other in some way. Each piece in this set is based on an interval that was not accepted during the Common Practice Period (music before 1900). The first piece consists primarily of successive fourths and tritones in the right hand over a “normal” bass accompaniment. The B section of this work also uses additive rhythms (in this case, 2+2+3/8) and seventh chords in the right hand to break the monotony of the 3/4 meter. The second piece begins in 5/4 with sixths in the melody and open cluster-type chords in the bass. The actual 3/4 element of the mazurka does not appear until the B section. Here, this can either be played normally or with the right hand crossing the left. The third and final piece in this set begins in the seemingly uncomfortable middle and high registers of the piano. The right hand plays successive minor seconds, while the left plays open fourths and fifths. This very dissonant piece gradually moves through all of the registers of the piano from top to bottom, ending with thunderous octaves at both extreme registers of the piano.