Opposites become complementary and allow the infinite and instant conversion of line into lines, into sounds, into varying quantities of action, from much to nothing, from nothing to little, from little to scarcely anything, from scarcely anything to a conjuring plenty of abandon … The piece feeds its own totality and brings everything into its focus. (Thinking Twice)

"I am working on the Trio for Wuorinen and write an amazing (that is I am amazed) piece of simple events in a less simple, syntactical environment … I have a horror of exaggerations and long-drawn-out grandeur (at this moment). I wonder about the un-weight of leaves, and letters, and facial expressions."

Take these three notes G, A, and B, play them five times and then stop! Three notes found in the major scale—G, A, B—and played simply on the lowest string. Classical music, folk music, how many pieces start that way! How many pieces start that way and then take you on a musical journey, like a symphony, down the great Mississippi River from one state to another, from one region to another—levels, motion, development—how many! And then again, afterwards, how not to do it! How not to take that trip! Suppose you have a steady state in which you can elect to remain, but a state the parts of which can be rearranged endlessly, kaleidoscopically. Now let's start again! And then …

There are (I know, I am conscious of, I wanted it) situations which exist (as themselves) in many different ways and (always being right at a time) must be seen in their particular unstable, never crystallizable situation. Time-Schichten ohne Time-Axen (layers of time without any axis-like time-coordination of time).