This became far too virtuosic to be sung. We ended up with a heterophony of 3 parts, the same line with three levels of ornamentation. The singer used a version of the original plainchant, within the same quarter tone mode, with vocal ornamentations like trill, trillo (amplitude vibrato), and slow oscillations. Jostein performed slower diminutions on the recorder. The rapid, unplayable diminutions were assigned to a sampled harpsichord spatialized to different parts of the room. A sampled ensemble of crotales, slentem and gong ageng marked the beats.

I was doubting this would fit within the concert programme of "Mouvance III: Distortion", as it had far less timbral abstraction and structural obscurity than any other pieces. For a while, we were stepping outside the language of abstraction.

Codex Faenza normally presents plainchant lines with an added part of diminutions. My first idea was creating a continous vocal cadenza with vivid ornamentation. I quoted the whole "Ave Maris Stella" plainchant used in Codex Faenza, running it through the described ornamentation machine with diminutions from Codex Faenza. The result was quantified to a mode containing 1/4-tone and 3/4-tone intervals. Through this transformation, materials from european medival tradition could vaguely resemble other musical traditions in the world. The colours of particular tuning systems could be animated with european medieval materials.