In this chapter the various stylistic influences in Reddy’s African Funk for Felix, Ballad for Thomas, and Toccata for John Roos are traced and delineated. By shedding light on the stylistic features that Reddy brought to pianistic realisation, I provideinterpretative insightsbased on a stylistic study of these works. This study is conducted by way of an overview of the stylistic musical elements found within the harmony, melody, rhythm, texture, form and style of the three works.The structures of the compositions are analysedincludingthe form of the composition, improvisation sections, intros, outros, modulation, development, and specific stylistic structural qualities, for example the cyclic repetition within the mbaqangasection in African Funk for Felix(Allen 2001; Bennet 2002:4-8; Berg 2005:3; Harrison 2009:131-132).Furthermore, examples of Reddy's harmonic vocabulary are givenand concepts such as extended jazz chords, harmonic repetition, ostinato, tension versus resolution, modal harmony, accompaniment style, modulation, transitions between different sections, and stylistic harmonic characteristics form part of this discussion (Reddy 2005b; 2005c; 2007).Stylistic melodic structures and motifs are also delineatedwith specific focus onstylistic licks,5development of the melody, tension and release, melodic material in the left hand, walking bass patterns, and melodies borrowed or quoted from other compositions (Aebersold 1992:43; Berg 2005:7; Harrison 2009:91; Reddy 2005b; 2005c; 2007).The use (or sometimes even lack) of dynamic markings in Reddy’s worksis also investigated. In African Funk for FelixReddy did not include dynamic markings. There arerecordings(as discussed in the literature review) that can be used as a referencewhen studying the work, but if itis performed as a solo piano composition, the