A significant element of this piece is the principle of beating: when two frequencies, very close in value, are played simultaneously a controllable rhythmic pulsing results. By layering several of these patterns, it is possible to create complex polyrhythms. Because simpler waveforms tend to produce more pronounced and recognizable rhythms, I chose to utilize pure sine tones early on in the piece, which evolve into more complex waveforms later. The oboe initially rides on top of this with pure tones of its own. As the electronic part becomes less pristine, the oboe follows suit with increased use of multiphonics and overblown notes. Most of the electroacoustic sounds were realized using Max/MSP.