The title Piramagrun (Kurdish: پیرەمەگرون), refers to the name of a rocky massif mountain around the city of Sulaymaniyah (Kurdistan of Iraq). It is part of the Zagros Mountains, with a maximum elevation of 2624 meters, making it the city's highest peak. This mountain peak is known to many people but not many have attempted climbing it due to its rough terrain, steep ridges, and dead ends. However, I was able to climb it and reach the summit on two separate occasions. In essence, borrowing the name and applying it to my dissertation work is a reference to my personal journey to the mountain peak told through a musical narrative that is governed by my own experience. Before embarking on a challenging journey, one’s mental state can be occupied by a wide array of emotions such as, desire, fear, motivation, belief, failure, and achievement. The title Piramagrun is a metaphor for one’s journey through life; overcoming obstacles; climbing the ladder of success; and reaching one’s goal in life. Thus the general storyline and ideas in these movements were the inspiration used to build the tone poem's structure. Piramagrun is an orchestral work of about thirteen minutes. The structure of this symphonic poem consists of four main movements played without a break with the first movement containing a sub-movement/sub-title; each movement linked together through a number of motifs, and thematic ideas that are constantly developed and transformed as they pass through different obstacles. The work is orchestrated for a piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B-flat, 2 bassoons, 4 horns in F, 2 trumpets in C, 3 trombones, timpani, bass drum, cymbals, glockenspiel, and strings: violins I, II (16 each), violas (12), cellos (12), and double basses (8) (with extension). The first movement is titled “Introduction-Contemplation.” The introduction, while short, is highlighted by the main motif (the Shepherd’s call), a perfect 4th interval, and the main polychord, which is used as a leitmotif representing the summit. The beginning chromatic arpeggio figure in the clarinets and bassoons which is accompanied by a steady drone in the violas contains the pitches Ab-C-Eb, which are dissonant with respect to D major chord, and are resolved at the end of the piece. Contemplation, on the other hand, refers to one’s fear of the unknown when contemplating a plan that is filled with obstacles. The chromatic nature and the unstable mood of this section is reflective of the various states of one’s mind. The second movement “Sunrise,” is about the beginning of the journey. In this movement, there is a noticeable shift in terms of texture, melodic, and harmonic content as they become more consonant, hence the reference to “Sunrise” being a metaphor for hope and determination. The transition to the third movement (Pastoral Song) occurs after a brief orchestral high point. The third movement’s pastoral song is where the journey and the hike through the village to the base of the mountain begins. The main theme is constructed around a series of perfect 4th and 5th intervals in reference to the main motif (Shepherd’s call). The pastoral song strives to capture the lush green landscapes, oak trees, bird sounds, and other aspects that govern nature’s soothing and healing power. And yet, there is a great sense of simplicity that is so inviting. The fourth movement “Ascent,” or the climb to the peak, may be considered the high point of this work with its noticeably fast tempo, sparse texture, and highly chromatic nature. At the beginning of this section, the melodic and harmonic material are worked out in phases starting with the low register, and gradually expanding until the final climax (the summit) is reached. The main thematic ideas of the first movement have strong presence in this movement. There are a few intense moments where this forward moving section dies down reflecting what I call moments of reluctance before carrying on with the climb. These slow interludes represent one’s thoughts when contemplating giving up one’s goals to avoid the risks. At the final climax, the dissonant notes of the polychord are resolved into a D major 9th chord indicating the final resting point. The final few measures recall the opening arpeggio figure (Ab-C-Eb) of the introduction but free of dissonances (A-C#-E), in reference to the ultimate state of calmness that this small section exhibits: flowery, colorful, and subtle instrumental dialogues supported by a steady drone making it the prevailing atmosphere of the end.