An early and remarkable example of graphic music notation, this piece is part of a group of works known as "Folio" (1952 - 1953). These are collectively "experiments in notation and performance process" (Brown). They grew out of Brown's enjoyment of group and solo jazz improvisation and his fascination with sculptor Alexander Calder's mobiles, how they were "variable but always the same". The score indicates relative frequency, duration, loudness and time-space "implications". It will, of course, sound different in each performance and rely greatly on the particular "realization" given by the performer(s). Some well-known realizations have been created by the well-known new music pianist and composer David Tudor.

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