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The music is based on short motives and chord progressions that are continually varied and juxtaposed. There are three sections in the composition, forming a fast/slow/fast structure. While sections one and three emphasize patterns that are fast and rhythmic—with no variation in speed—the rate at which chord changes occur varies widely. Early in the piece the harmonies move quickly underneath the many motives; but as the first section progresses, a single motive/pattern is periodically isolated and repeated over very slow chord changes. The surface rhythm of the pattern remains fast and constant during these harmonically stable sections, yet there is a general perception that the music is calmer.
The interplay between the soprano saxophone and piano is another important aspect of the piece. The two instruments tend to share ideas, tossing motives back and forth in an improvised manner, but in the lyric slow section the soprano saxophone is featured and the piano takes on an accompanying role. Occasionally the piano makes an unexpected percussive sound when the pianist dampens a string with fingers of the left hand whilst playing the keyboard with the right hand. A single low piano note is dampened throughout the entire composition with a rubber wedge (which, when struck softly during the slow middle section, takes on a gong-like character). The piece closes with a return of the fast music, beginning with harmonically stable repeating figures and then moving into the short and quickly juxtaposed motives that began the piece. This loosely designed reverse order results in an arch-like shape for the whole composition.
from notes by Rodney Rogers © 2008