Written in 1987 for the flautist Paula Robison, this is one of the composer's many works for flute either in chamber ensemble or as a solo instrument as in "Air" (1995) his last completed work, or "Voice" (1971) and "Mask" (1959-60).

Takemitsu shared a love of water imagery ("Rain Tree", "riverrun", "Toward the Sea", "Rain Coming", "Rain Spell", "Water-Ways" , etc.) with one of his main influences Claude Debussy ("La Mer", "Reflects dans l'eau", etc.); and they also shared a love of the timbre of the flute. It should not be therefore too surprising that in this work for flute and orchestra the extended melody contains whole tone scale and chromatic passing tones that give a very definite Debussyian flavor. The melody also contains within it the potential for jazz influence (particularly from Edward "Duke" Ellington with whom Takemitsu wanted to study) with its accented chromatics and quick half-step "outside" modulations. In fact, this pathway appears later in the piece.

A lush echoing of parts of the theme by the orchestra takes place immediately after its first statement - this is made up of harmonics and trills in the strings, a bisbigliando (fluttering of the hands glissandi) in Harp II, a vibraphone trill, and the theme broken up among the woodwinds and brass. The high strings then state the beginning of the theme again, and the flute takes over underscored mainly by rich brass choir harmonies. More quasi-improvisational elaboration is added to the flute line. Again the strings provide a lush reply but this time orchestrated with additional cello arpeggios and a small counter-figure given to the viola harmonics, harp, celesta and French horns.

Following Takemitsu's own version of sonata form, the flute continues to expand the intervals of the melody and produce variations in an extended development section.

The brass, oboes, and bassoons enter (at rehearsal mark F) with a slightly jazz, Ellington-style harmonization - a variation that almost sounds like a new theme. The flute responds with a jazz variation, and then a long string sustain takes the music into several replies from the orchestra of a sample motif from the main melody.

The strings repeat the previous brass choir figure. Several full orchestra passages follow. Then (at rehearsal mark N) the solo flute re-examines its statements with sliding tones and heavy Bartokian snap pizzicatos from the strings (like an amplified jazz trio).

The theme is repeated and again the texture floats with string harmonic sustains and two harps on bisbigliando figures. The solo flute floats above the sustains. A single sigh heard from the lower woodwinds, and then the flute is left completely alone, one high tone surrounded by silence.

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