This work is an attempt to show the potential of a scale including three extra notes within the major keys. These notes are the flat sevenths of the three primary triads, i.e. having a frequency ratio of 7:4 to the bass note. This four-note chord is regarded as more consonant than ordinary seventh chords and the seventh does not therefore require harmonic preparation, but it most effectively moves down by a small step. A brass quintet was chosen as the medium for this piece as the sevenths can be obtained by using the seventh natural harmonics of the instruments. This will require a bit of practice from the performers as most brass players learn to avoid this harmonic.
The work falls into two sections without a break. The first section is in a brief sonata form. The second section, based on the same material as the first, is more contrapuntal in character although not a strict fugue.