This is a timbrel listening piece for mutilated/modified Pierrot Lunaire ensemble. It is instead for an all instrumental octet. Rather than
violin and cello, viola and contrabass are used. Influence ranges from French spectralism; ancient Japanese gagaku court music, the Second
Viennese school; and my own affliction for color, timber, and advanced contemporary orchestration. The piece utilizes a 7 octave 'multi-octave
scale;' each octave using it's own independent scale. This adds a bit of alleatory to the harmonies, which are otherwise meticulously thought-
out and planned in order to produce sufficient tension-relief. This is necessary as the piece lacks any sense of melody, intelligble harmonic
language, no rhythm or pulse, and is instead intentionally watered down in every regard, save the orchestration. This leads to a Zen Buddhist
inspired mindfullness meditation for the duration of the piece. Tempo is set not by bpm, instead giving rough estimates for how long each
section should last. This results in instruments never quite syncing entrances and exits. No time signatures are used, all notehead being
stemless. Try to isolate and identify each instrument as you listen, also tracking and observing changes in timber/color based on the range of
each instrument and what playing technique is used.

"Fire over water:
The image of the condition before transition.
Thus the superior man is careful
In the differentiation of things,
So that each finds its place."

-The I Ching, hexagram 64