is heavily influenced by the pattern-driven, post-Minimalist piano music of John Adams. But instead of
gradually changing musical processes, the surface of the music is changed by sudden interruptions to the perpetual motion,
followed by some manipulation to the pattern.
I think of these moments like throwing a wrench into the gears of a clock; the gears start moving again, but take a different path.
This piece was composed in 2012 for my good friend and pianist, Daesik Cha.