The sounds were written directly for the instruments rather than being conceived as a grouping of interlocking sounds on the piano and then orchestrated. At first, the sounds were written one by one as a non-metrically measured unit. That is, in a non-time chronological series. I then structured each sound in terms of its acoustical reality (how long it takes to “speak”) and found a pulse in which they could then breathe without tension, gravity, or the feeling of a beat. In effect, I was primarily concerned with the natural time duration of each sound in its relation to a corresponding instrumental timbre.