The composer often incorporated polytonality (the use of several overlapping and simultaneous tonal centers) into his work. This can be seen in the opening of his early ballet Petrushka (Figure 3). The first clarinet presents a melodic figure in C major, while the second clarinet plays an opposing melody in the distant key of F-sharp major. This superimposition of multiple tonal centers created a sound that was grating and unexpected to the audiences of Stravinsky’s day (Levitz 114). Figure 3: Bitonality in Stravinsky’s