The piece is a presentation of 88 harmonic sets. The size of each set decreases by one with each iteration, such that the initial set comprised of 88 harmonics, is followed by a sequence of 87, then 86.. and so on, down to 0. For each subsequent set, the fundamental is determined by dividing the highest harmonic of the previous set by the new (n-1) set size. This process maps the frequency of the highest harmonic to the highest harmonic of the n-1 set, thereby maintaining this particular frequency as a point of tangency between iterations, and across the piece. Other points of tangency emerge as a result of process as well. Frequencies within a given set match frequencies of the initial set comprised of 88 harmonics according to the greatest common factor between the number of harmonics in both sets. For example, the set comprised of 66 harmonics will match 22 of the frequencies contained within the initial set of 88 harmonics. Sets with a prime number of harmonics, or sets that do not share a common factor, will only contain one matching frequency (at the highest harmonic of each set). Throughout the piece, these matching frequencies are articulated by piano samples, played at both the matching frequency and the fundamental frequency of the initial set (32.703... hz). The 32.703... hz notes are band-passed with a high Q at the matching frequency. Non-matching frequencies are articulated using pitched percussion sounds. The percussion samples being used change according to the GCF of the current set. All non-matched frequencies start off as grains, and by the end of the piece, are given time to resonate. This trajectory is reversed for matched frequencies. Within a set, the temporal position of each frequency relative to other frequencies (independent of matching) is determined by a formant map of a low C (32.703... hz) piano sample. A frequency's mapped amplitude is correlated with a delay time relative to the initial onset of the set, such that stronger frequencies occur later in time.