Luciano Berio began his Sequenza series of works for solo instruments in 1958 with Sequenza I for flute. Beginning with Sequenza II for harp (1963), Berio embarked on a series of "offshoot" works for soloist and ensemble. The first of these, Chemins for harp and ensemble, retains as its core the entirety of Sequenza II, newly surrounded by ensemble textures.

Chemins II for viola and nine instruments (1967) is based on Sequenza VI for solo viola. Indeed, Chemins II itself eventually emerged as one of the most "transformed" of Berio's works: Chemins III (1968) incorporates Chemins II in its entirety and adds an orchestra; Chemins IIb (1970) eliminates the soloist's line while increasing the size of the ensemble from the original Chemins II; and Chemins IIc (1975) supplements Chemins IIb with an obbligato bass clarinet.

The viola's music in Sequenza VI consists primarily of tremolo multistops that articulate a gradual harmonic transformation. In Chemins II, Berio uses Sequenza VI, virtually unmodified, as the generative material for further harmonic processes that take place in the ensemble. While initially the harmonies proclaimed by the viola are merely colored and revoiced by the ensemble (consisting of flute, clarinet, trombone, electric organ, harp, marimbaphone, vibraphone, viola, and cello), the presence of the ensemble begins to shift the focus of particular pitches (and, consequently, harmonies). The individual members of the ensemble become, rather than mere accompaniment for the soloist, an engulfing, independent force that at times subsumes the solo viola into its textures. The viola's ever-ascending harmonic progression does prove to be the main force at work in the end.

Chemins II was premiered in Copenhagen, in 1968, featuring Walter Trampler as soloist. Trampler also premiered Chemins III, with Berio conducting the Ensemble Musique Vivante in Paris, that same year. Chemins IIb was premiered with Diego Masson conducting in Berlin, in 1970.

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