If you reveal your secrets to the wind you should not blame the

[K. Gibran (sand and foam,1926)]

It is nice that musicians can perform a piece of music according to signs on paper.This saves a lot of time and discussion. Especially with a large orchestra, time is expensive and discussion is risky. Notation is practical and careful: barlines clearly define the music in small blocks and notes define the pitch.

This is why composing music is like playing with LEGO. You have large and small pieces; red and yellow ones. Sometimes a little puppet or a pair of wheels. As long as your manual is correct, the results will be fine.

However, if you prefer clay modelling to playing with LEGO, then composing is a complicated business. Between the notes lies a world of sound which is impossible to convert exactly into notation. A rehearsal is brief and the work of building up the piece does not allow you the time you might want to sculpt, transform and shape the inner world of sound.

This piece attempts to overthrow the usual domination of the barline-security imposed by the notation system. The order of convention appeared hard to resist though.