Written for Brian Gallion.
In writing this work, I was interested in providing for myself a compositional
constraint – the challenge of limitation – by using a limited set of harmonic intervals that move in precise cycles as sorts of isorhythms that helped me define the lengths of certain materials. The musical result of such constraint offers a degree of repetition and motion between active and (seemingly) inactive sections that challenge my definition of the word interval. Thus, I use the word interval in describing this work when I wish to speak of measurements of distance both vertically (harmonic), horizontally (temporal), or both at once (which I consider to be timbral).